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More on the house track "House of God" and R&S Records, the label where it first appeared:
R&S is a Belgian imprint and it's obvious why they liked "House of God," because it's a dark and pounding track (for all the fun--more below) and Belgian techno tends/tended to be over on the industrial side of the aisle. DHS is from Chicago but I know nothing about that outfit. I see "House" as a refinement & updating of "Welcome to Paradise V 1.0" by Front 242, an actual Belgian band frequently described as "techno/industrial crossover" or "electronic body music." It's amazing what happened to electronic music between 1988 and 1991, as exemplified by these two tracks: an astonishing quantum leap in equipment, philosophy, or both. "Welcome" features samples from a Jimmy Swaggart-style televangelist over the metallic "drum machine" sound that everyone was using in 1988, not sure what brand, which now seems brittle and jarring and dated. Also wailing psychedelic guitar samples. The televangelist's words included such club-friendly ironic soundbites as "No sex until marriage!" but also scrambled nonsense phrases like "Hey, Poor, You Don't Have to be Jesus." (An even earlier precedent is Negativland's "Christianity is Stupid" which hacks up a southern sermon.)
"House of God" samples a black radio preacher, from Chicago I'm guessing, who is trying to raise contributions of "50 dollars or more" to build a church called "The House of God." Phrases from his pitch--"I am excited", "50 Dollars or more"--are cut up, stripped of context, and sprinkled throughout the track, or used as rhythmic elements in themselves. The underlying music is minimal, just a thumping beat (an 808?), synthetic cymbals, and a sonar-like pulse--with the occasional hammer-hitting-a-railroad-spike percussion that I'm sure attracted the Belgians. The production is silky smooth, seductive, hypnotic. DHS emphasized the connection between the word "House"--frequently spoken aloud in house music--and "House of God," thus secularizing a concept already corrupted by the phony preacher (and he does sound like a shyster)--or maybe recuperating it? There's a kind of liberating sacrilege in the track's repeated use of the word "God": at one point a sample of the preacher saying "God's House" alternates over and over again with a little girl saying "God" (God's House--"God"--God's House--"God") which almost sounds like cursing and makes me think someone in DHS had a bad religious upbringing. But it also recalls the joyous call-and response you hear in gospel services. It's a brilliant piece of music in the way it tugs you this way and that.