Skinny Puppy: The Alan Cross Guide (Unabridged‪)‬

WANTED: Experienced Fact Checker. Knowledge of Skinny Puppy an asset, but not required

Allow me to first say I have met Alan Cross and he is intensely passionate about music, particularly that which might fall under the massive umbrella we like to call Rock and Roll. He has written extensively about Nine Inch Nails and many other noteworthy bands. Cross knows all too well you can't really consider yourself an aficionado of Nine Inch Nails without knowing at least something about Skinny Puppy. And clearly, Alan does.
But this guide is certainly not an example of his finest work. While it is perhaps something of a practical guide to the completely uninitiated, this "Unabridged" guide appears to be quite the contrary. There is much history that is glossed over, with a few moments that beg to question "Why is this considered relevant, but this other important part of the band's history was completely omitted?" Many pertinent names are dropped, but some questionably so. For instance, early in the recording, "William" Schroeder (of course referring to Bill Leeb's early pseudonym, Wilhelm Schroeder) is named as an early member, without detailing his musical contributions, nor is there any subsequent mention of Front Line Assembly. Initially I attributed this to being an audiobook about Skinny Puppy, and thus would exclude the mention of other acts. Yet moments later Adrian Sherwood is mentioned for his "remixes" of Deep Down Trauma Hounds and Addiction, as if he was a pivotal part of the band's history. Had I not known better, I might have believed his contribution to those particular mixes was directly and solely responsible for the modest commercial success of the band that followed.
Of course Dave Ogilvie is mentioned, as is Edward "Kay" Spell (as Mr. Cross puts it), and "a dude named Mark Walk" (when speaking about 2004's The Greater Wrong of the Right, with no mention of his prior contributions to the band's earlier albums) alongside other names like Danny Carey and Wayne Static (which are perhaps used to give some context to the New Rock Edge 102 crowd, as is the case with connections to Nine Inch Nails, Marilyn Manson, and Ministry). Yet there is no mention of Otto Von Schirach, whose influence on the album was of particular prominence. Cross also describes The Greater Wrong of the Right's sound as being more “rock” oriented, which is arguable not the case at all. Curiously, there is no mention of Download, which seems like a missed opportunity, especially given Cross's current projects with Explore Music.
Naturally, Al Jourgenson too is mentioned with regard to Rabies, but Cross exemplifies his (guitar-centric) influence through the mention of Tin Omen and Worlock. Worlock? Really? What guitars were there in Worlock? Is it possible he meant the Beatles sample from Helter Skelter? It might have been more interesting perhaps to discuss the Charles Manson/Helter Skelter juxtaposition, or maybe the controversy regarding the banned/unreleased video for the track. Sure there is an obvious Jourgenson flavour in Tin Omen, but such is the case with much of the album, especially in Fascist Jock Itch. Also, it seems a bit glib to associate Jourgenson strictly with guitars, as his presence is very clear in Rodent and Hexonxonx which are not driven by guitars at all.
At one point Cross recalls that “anyone that says they can make out the lyrics in a song like Dig It had to be lying” which is uncharacteristically an outsider's perspective, especially given that Dig It is, by comparison, quite radio friendly. It sounds like something a Top 40 enthusiast might say after hearing a Skinny Puppy track: “What is the point of even having lyrics if nobody can understand what he is saying.. it's just noise.” Surely, most Skinny Puppy fans have at some point heard something equivalent.
There are mistakes and misinterpretations and misunderstandings. For example, Cross at one point refers to the album as “Cleanse, Fold, and MUTILATE” which makes him seem terribly unfamiliar with artists' work. He recalls the almost legendary absence of Left Handshake, but mistakenly connects it to Too Dark Park, not Last Rights. Likewise, he recalls the infamous problems regarding album pressings and track points but again connects the history to Too Dark Park, not Last Rights. I have never heard of any problems with the runs of TDP, but am well acquainted with the extensive problems in the early runs of Last Rights. Even then, the details are skewed regarding where the silence begins, where the tracks end, and the technical details therein, which realistically do not seem particularly noteworthy anyway.
Another unfortunate approach was the handling of Dwayne Goettel's history of drug use. There was no mention of Ogre's vices which have long been the fodder for much Skinny Puppy lore. Dwayne was hardly the only one indulging in heavy drug use. But indeed, Cross does insist upon Dwayne's importance in the band, and rightfully so.
This review seems like it is longer than the audiobook itself, but what can I say? -- I am a Skinny Puppy enthusiast. There is nothing here that is insightful or unique – nothing that can't be found elsewhere, with greater detail, and greater accuracy. A disappointing release from an otherwise very knowledgeable and interesting man.