Throbbing Gristle ‎– D.o.A. The Third And Final Report

I see a copy with both the calendar and postcard went for £650 recently! Staggering! Are the calendar and postcard really that rare? I have them in my copy.

What an incredibly horrifyingly creepy album. My favourite genre is Industrial, yet I had never heard a Throbbing Gristle record before, so I purchased this and the White album made in 1978 and listened to it. Pure experimental genius. The Hamburger Lady is my favourite. So eery and creepy.

If you want to visit the roots of Industrial and figure out where it REALLY came from (not Nine Inch Nails or Ministry), give these guys a listen along with Coil, Einsturzende Neubaten, and Monte Cazazza. You owe it to yourself if you consider yourself a fan of the genre.

20 jazz funk greats is an easier record to listen to for someone not familiar with the genre or wanting to get into Throbbing Gristle. DOA i think represents the Throbbing Gristle sound that they are known for. Songs like Hamburger Lady on Side B and the first track IBM is the epitome of TG. to be honest I didn't like them at first I had to listen a few times and really get "lost" in the music. for me this is music that you have to think about you have to put your self in the record. There isn't a band like Throbbing Gristle, not Coil and not Cabaret Voltaire. Id recommend buying this record.

Amazing sound quality. Great reissue. Buy it now! (two more words)

How to recognize the difference between this record and the unofficial one IR0004?

Bootleg that sounds just as good as the original, recommended

This is by no means a perfect album. It has a lot of tracks that, quite frankly, aren't up to the caliber of the First, or even the Second Annual Report. Tracks tend to meander, going more or less nowhere. "Hometime" in particular seems to be kept in place more by the daisy-chained tape recordings than by Cosey's improvisation, and "Dead On Arrival" sees the band trying to make the best out of playing themselves into a corner. Of particular note is "Hit By A Rock;" everything but the rock-n-roll guitar comes off as ornamental, which makes the sitar-like drones and wailing vocals all the more grating.
However, the album has its high points, and boy, what high points they are! "I.B.M." kicks the album off perfectly, taking, of all things, an old data cassette and spinning an unsettling atmosphere from it. "Weeping" sees Genesis take his trademark violin playing slightly further from the edge of insanity, making his singsong voice and depressing lyrics all the more poignant. "Hamburger Lady" masterfully blends cold, mechanical electronics, detached, almost disembodied vocals, and unrelentingly gruesome lyrics to a bone-chilling effect. But by far, the crown jewel is "AB/7A," in which Chris Carter demonstrates not only his influences and how much he owes to them, but how far he's come and how far the band's come because of him. It's a downright marvelous track, with beauty at every turn.
Now on to the bonus tracks. "Five Knuckle Shuffle" is a decent, straightforward piece, building itself around a steady rhythm and lyrics dealing in such themes as teenage rebellion and drug abuse. "We Hate You (Little Girls)," however, is completely obnoxious. On the one hand, it's here one can see the link between Throbbing Gristle and bands like Whitehouse. On the other hand, the song is devoid of structure, rhyme or reason, with its two-minute length safe to consider an act of mercy.
When recommending albums to friends who want to get into the band, this one's pretty low on the list. That doesn't mean I don't make a point out of recommending it. True, it's nowheres near the best album the band's put out, but it certainly has some of the band's best tracks.