Rather unusual (and some might say unfortunate) term to describe kissing. Heavily evident throughout the UK, it is also gaining popularity in Australia.

Fun pastime if nothing else.

aka kissing,playing tonsil hockey, necking, putting that mouth to good use (which can also refer to further uses (experts only please), kissing, whispering in her mouth, smooching or canoodling. The pressing together of lips. Tongue useage optional.

A snog is a long, deep, sloppy kiss that preferably lasts for at least an hour. Snogs are good things.

An Australian music group, Snog is David Thrussell, Julia Bourke, Pieter Bourke, and Tim McGrath. The creation of Thrussell, Snog formed in 1988, in spite of their wildly different music tastes; David, experimental and electronic body music, Julia, soft ambience and Tim, synth-pop/new wave.

Somewhat an electronic oddity in Melbourne, Australia, in 1990 they recorded some tracks and tried to find a label. Guess what? Australian labels were not interested with a band so far from the beaten path. In 1991 they went to Germany and within two weeks, signed to Machinery Records.

In 1992, Snog recorded a dance hit, "Corporate Slave", which combined elements of 90's electrodance with 70's funk, AND a strong anti-capitalist message. They followed it up with their highly-regarded debut album, Lies, Inc., and two more dance hits, "Shop" and "Born to be Mild".

In 1994, Snog released their harsh techno single "Cliche," as well as an Australian single, "Hey Christian God", which contained a large amount of material not intended for release under Snog. Instead, it formed the nucleus of the first release of Thrussell's solo project, Black Lung, which he started in 1995.

In 1995, Snog released their second full length recording, Dear Valued Customer, which furthered the sounds explored with "Cliche" (techno as well as industrial) and the politics in Lies, Inc.. Snog's lyrics show a strong disillusionment with western ideals of materialism and mass ownership, and in this album, Thrussell's anti-politics became even more antagonistic to western culture, this time tackling issues of religious domination and hypocrisy as well as socio-economic ones.

1996: Snog switched labels to Metropolis Records and released Future, all new material. In 1997, they released a compilation, Remote Control , and then in 1998 it was Buy Me...I'll Change Your Life. This last is a bizarre combination of electro and a vague country style of spaghetti western and suprisingly, it works. As well, in 1998, they released two singles, "Human Germ" and "Hooray".

In 1999 Snog returned to their classic electro sound with Third Mall from the Sun, which was danceable electronics, controversial lyrics, and a cover that was banned in Australia due to the art work. In the Thrussell's own words:

"The album was ... a quasi-conceptual electro juggernaut careering wildly on and off the rails, pushing the envelope and dunking the witch." Ah, so.

In 2000, Snog released Relax into the Abyss, which contains 4 new tracks, and 11 remixes of songs from Third Mall by other artists. Thrussell openly welcomes sampling and promotes it. About these remakes,

"... the remixes are more beat orientated and instrumental. It's good ... for the music to get a chance to reveal itself and breathe a little without my grumbly groany voice smothering everything."

How to describe their music? Thrussell cites a crazy range of influences in his musical styles, from cinema to classic rock and folk to industrial music, and contradictory names such as Foetus, Tom Waits, Ennio Morricone, Kraftwerk, Pink Floyd, Leonard Cohen, and Nick Cave, appear on his list of musical influences, among others. Perhaps Snog's music could be called techno, but it wouldn't be quite RIGHT. Its atmospheric qualities nudge it away from absolute classification.

And the lyrics? Despite their apparently radical inclinations, David doesn't regard them as political, rather as simple and rather obvious social observations. He doesn't claim to have any secrets, and sees his lyrics as a frank examination of humanity struggling within itself. Indeed.


Thanks to rollingstone.com, metropolis-records.com, and http://www.cyberden.com/imcc/

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