User:WTravis/Oil Seed Rape (band)

Oil Seed Rape (band) new article content ... Oil Seed Rape was a UK band from Gloucestershire in England which was active between 1990 and 1995. They recorded a session for John Peel in early 1993 which was broadcast twice and this helped propel the trio to some success. Their debut single (a 12" EP entitled, 'Paid') reached number nine in the UK independent single charts during March 1993 and their follow up record (a mini LP entitled, 'Six Steps To Womanhood') reached number 20 in the UK independent album charts during September 1993. Oil Seed Rape appeared at the Reading Festival in August 1993 and continued to play live shows throughout that year with fellow like-minded British bands such as The God Machine, Shockheaded Peters, Mint 400 and Terminal Cheesecake. The band received praise and criticism in equal measure, mostly on account of their unusual format (three men and a drum machine) and resultant sound, which closely resembled Big Black, one of their primary influences, alongside other noisy American artists such as Swans and Butthole Surfers. Cathy Unsworth of the weekly UK music paper Melody Maker hailed the young trio as "the next Therapy?" while Simon Price of the same publication wrote of them, "Nine Inch Sisters Of Ministry, anyone?". Meanwhile, Angela Lewis of the NME commented: "with a sharpening of those nihilistic wits, this could be the pretty hate machine we've been waiting for". In early 1994, the three members of Oil Seed Rape (Wayne Travis, Christopher Allen and Daniel Mulligan) were joined by Jason Woodfin, a drummer from Travis's home town, Tewkesbury. Partially in an effort to shed the Big Black copycat accusations, and partially because the band was simply growing up, the next recording Oil Seed Rape made was markedly different to its two predecssors. 'Parker Knoll', a limited edition seven inch single, was the third release by Oil Seed Rape and was issued in May 1994 on Jackass Records, the London independent label the band stayed with throughout its career. Recorded by Robin Proper-Sheppard at The Flowershop (a studio originally based off Agar Grove in Camden, London), the three songs on Parker Knoll were recorded live on analogue equipment in one day. This release alienated some of the existing audience of the band as it revealed a radical move away from their metallic, industrial roots and featured a more organic, post-rock sound with live drumming instead of a drum machine. The foursome worked on more new songs and prepared to record a full length album at the end of 1994, but before the year was out, Woodfin left the band. Rather than revert to the drum machine, Travis, Allen and Mulligan enlisted the help of other drummers from the local scene and eventually went to Blackwing Studios in Southwark, London during January 1995 to record twelve songs. Robin Proper-Sheppard once again masterminded the recording, but this LP would never emerge as the band dissolved a few months after the sessions.

Oil Seed Rape (band)
Oil Seed Rape was a UK band from Gloucestershire in England which was active between 1990 and 1995. They recorded a session for John Peel in early 1993 which was broadcast twice and this helped propel the trio to some success. Their debut single (a 12" EP entitled, ‘Paid’, recorded by John Wills) reached number nine in the UK independent single charts during March 1993 and their follow up record (a mini LP entitled, 'Six Steps To Womanhood’, also recorded by John Wills) reached number 20 in the UK independent album charts during September 1993. Oil Seed Rape appeared at the Reading Festival in August 1993 and continued to play live shows throughout that year with fellow like-minded British bands such as The God Machine, Shockheaded Peters, Mint 400 and Terminal Cheesecake. The band received praise and criticism in equal measure, mostly on account of their unusual format (three men and a drum machine) and resultant sound, which closely resembled Big Black, one of their primary influences, alongside other noisy American artists such as Swans and Butthole Surfers. Cathy Unsworth of the weekly UK music paper Melody Maker hailed the young trio as, "the next Therapy?" while Simon Price of the same publication wrote of them, "Nine Inch Sisters Of Ministry, anyone?". Meanwhile, Angela Lewis of the NME commented, "with a sharpening of those nihilistic wits, this could be the pretty hate machine we've been waiting for". In early 1994, the three members of Oil Seed Rape (Wayne Travis, Christopher Allen and Daniel Mulligan) were joined by Jason Woodfin, a drummer from Travis's home town, Tewkesbury. Partially in an effort to shed the Big Black copycat accusations, and partially because the band was simply growing up, the next recording Oil Seed Rape made was markedly different to its two predecssors. 'Parker Knoll', a limited edition seven inch single, was the third release by Oil Seed Rape and was issued in May 1994 on Jackass Records, the London independent label the band stayed with throughout its career. Recorded by Robin Proper-Sheppard at The Flowershop (a studio originally based off Agar Grove in Camden, London), the three songs on Parker Knoll were recorded live on analogue equipment in one day. This release alienated some of the existing audience of the band as it revealed a radical move away from their metallic, industrial roots and featured a more organic, post-rock sound with live drumming instead of a drum machine. The foursome worked on more new songs and prepared to record a full length album at the end of 1994, but before the year was out, Woodfin left the band. Rather than revert to the drum machine, Travis, Allen and Mulligan enlisted the help of other drummers from the local scene and eventually went to Blackwing Studios in Southwark, London during January 1995 to record twelve songs. Robin Proper-Sheppard once again masterminded the recording, but this LP would never emerge as the band dissolved a few months after the sessions.

Oil Seed Rape (band)
Oil Seed Rape was a UK band from Gloucestershire in England which was active between 1990 and 1995. They recorded a session for John Peel in early 1993 which was broadcast twice and this helped propel the trio to some success. Their debut single (a 12" EP entitled, ‘Paid’, recorded by John Wills) reached number nine in the UK independent single charts during March 1993 and their follow up record (a mini LP entitled, 'Six Steps To Womanhood’, also recorded by John Wills) reached number 20 in the UK independent album charts during September 1993. Oil Seed Rape appeared at the Reading Festival in August 1993 and continued to play live shows throughout that year with fellow like-minded British bands such as The God Machine, Shockheaded Peters, Mint 400 and Terminal Cheesecake. The band received praise and criticism in equal measure, mostly on account of their unusual format (three men and a drum machine) and resultant sound, which closely resembled Big Black, one of their primary influences, alongside other noisy American artists such as Swans and Butthole Surfers. Cathy Unsworth of the weekly UK music paper Melody Maker hailed the young trio as, "the next Therapy?" while Simon Price of the same publication wrote of them, "Nine Inch Sisters Of Ministry, anyone?". Meanwhile, Angela Lewis of the NME commented, "with a sharpening of those nihilistic wits, this could be the pretty hate machine we've been waiting for". In early 1994, the three members of Oil Seed Rape (Wayne Travis, Christopher Allen and Daniel Mulligan) were joined by Jason Woodfin, a drummer from Travis's home town, Tewkesbury. Partially in an effort to shed the Big Black copycat accusations, and partially because the band was simply growing up, the next recording Oil Seed Rape made was markedly different to its two predecssors. 'Parker Knoll', a limited edition seven inch single, was the third release by Oil Seed Rape and was issued in May 1994 on Jackass Records, the London independent label the band stayed with throughout its career. Recorded by Robin Proper-Sheppard at The Flowershop (a studio originally based off Agar Grove in Camden, London), the three songs on Parker Knoll were recorded live on analogue equipment in one day. This release alienated some of the existing audience of the band as it revealed a radical move away from their metallic, industrial roots and featured a more organic, post-rock sound with live drumming instead of a drum machine. The foursome worked on more new songs and prepared to record a full length album at the end of 1994, but before the year was out, Woodfin left the band. Rather than revert to the drum machine, Travis, Allen and Mulligan enlisted the help of other drummers from the local scene and eventually went to Blackwing Studios in Southwark, London during January 1995 to record twelve songs. Robin Proper-Sheppard once again masterminded the recording, but this LP would never emerge as the band dissolved a few months after the sessions.