Jim Marcus
| Jim Marcus | |
|---|---|
| Birth name | James Marcus |
| Born | March 22, 1966 |
| Origin | Chicago, Illinois, United States |
| Genres | Industrial, dance, rock |
| Occupation(s) | Singer, songwriter, typographer |
| Years active | 1980s–present |
| Labels | Pulseblack Records (Owner), Fiction , Atlantic , Mercury , Polygram , WaxTrax! |
| Website | myspace.com/jimmarcus |
James (Jim) Marcus (born March 22, 1966) is a musician, artist, political activist, and respected typographer who is best known for his work as the lead singer and founder of the Industrial band Die Warzau. He is credited as engineer, remixer, vocalist, songwriter, percussionist, drummer, bass player, pianist, keyboardist or artist on albums by Die Warzau, GoFight, Sister Machine Gun, Björk, Pigface, Pansy Division, The Swans, Haloblack, Chris Connelly, KMFDM, Skrew, Machines of Loving Grace, Stabbing Westward, Gravity Kills, Everplastic, Screaming Rachel, Dessau, Chemlab, The Final Cut, Testify, Mindfunk, Little Louis and various other artists across many different genres. His work can be heard on some of the most popular tracks by many of these groups, such as the Pigface's "Asphole", "Aboriginal", "Steamroller", etc., KMFDM's "Light", Sister Machine gun's "Wired", "Lung", "Nothing", etc.
In the late eighties, Jim Marcus and his partner Van Christie were working as individual performance artists in Chicago, Illinois. Their early shows as the band kept their performance art roots and were less about music than destruction and visual mayhem, garnering attention from fans,members of the press, and police officers. Fiction Records, distributed in the United States by Polygram and at the time serving as home to bands like The Cure and Eat, added Die Warzau to its roster after a particularly destructive show created a minor PR blitz in the city. In 1988 the band’s first single, “I’ve Got to Make Sense,” reached number twenty-three on Billboard’s dance chart and topped college club charts across the country. Their next single “Land of the Free” climbed to the top spot on the Billboard dance charts and stayed on the import charts for a record thirty-six weeks (since Fiction was an English label, the record was an import release).
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