Friday, August 31, 2007
Industrial music
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Industrial
Stylistic origins: Musique concrete, Fluxus movement , Performance art, Electronic Music, Krautrock, Noise music
Cultural origins: Early 1970s; United Kingdom, Germany, Canada, United States
Typical instruments: Synthesizer - Drum machine - Tape loops - Drums - Guitar - Found objects - Modified electronics (in latter incarnations were added Sequencer - Keyboard - Sampler)
Mainstream popularity: Underground since its creation, a moderate peak during the mid-1990s
Derivative forms: EBM - Aggrotech - Industrial Metal - Industrial Rock - Ambient Industrial - Coldwave - Techno - IDM - Trance - Synth pop - Futurepop - Glitch
Subgenres
Other topics
Notable artists - List of noise musicians - List of post-industrial music genres and related fusion genres
Industrial music is a loose term for a number of different styles of experimental music, especially but not necessarily electronic music. The term was first used in the mid-1970s to describe the then-unique sound of Industrial Records artists. Since then, an extremely wide variety of labels and artists have since come to be called "Industrial."
The first industrial artists experimented with varying degrees of noise, production techniques and what, at the time, were considered controversial topics. Their production was not only limited to musical output. It also included mail art, performance art, installation pieces and other art forms.[1]
Originally, the term solely referred to music created by Industrial Records and related artists. As time progressed, the term began to refer to artists either directly influenced by the original movement, artists using an "industrial" aesthetic such as imagery devised around mechanical objects and industry itself and, more distantly, artists who were sometimes only minimally influenced or insipred by the Industrial Records roster and other related artists. The evolution of industrial music has led to an overwhelming number of sub-genres and lines of influence.
Contents
[hide]
* 1 Terminology
* 2 History
o 2.1 Early influences
o 2.2 Industrial Records
o 2.3 Post-industrial developments
* 3 Post-industrial genres
* 4 References
* 5 See also
* 6 External links
[edit] Terminology
Industrial was a term meant by its creators to evoke the idea of music created for a new generation of people, previous music being more "agricultural." Specifically, it might have referred to the streamlined process by which the music was being made, although many people now interpret the word as a poetic reference to an "industrial" aesthetic, recalling factories and inhuman machinery.
On this topic, Peter Christopherson of Industrial Records once remarked, "The original idea of Industrial Records was to reject what the growing industry was telling you at the time what music was supposed to be."[citation needed]Martin Atkins of Pigface described Industrial in a 1997 interview with Industrial Nation Magazine as "What punk rock was in 1976." He continued "If you listen to early Psychic TV or late Throbbing Gristle or early Throbbing Gristle, It's experimentation in what sounds could do."
[edit] History
[edit] Early influences
Luigi Russolo's 1913 work The Art of Noises is often cited as the first example of the industrial philosophy in modern music. After Russolo's musica futurista came Pierre Schaeffer and musique concrète, and this gave rise to early industrial music, which was made by manipulating cut sections of recording tape, and adding very early sound output from analog electronics devices.
Also important in the development of the genre was the Dada art movement, and later the Fluxus and Surrealist art movements, as well as the 'found object' asthetic of the Arts and Crafts movement.
Edgard Varèse was also a major pioneer in electronic music. His composition Poème électronique, for example, debuted at the 1958 Brussels World's Fair in the Philips Pavilion.
[edit] Industrial Records
20 Jazz Funk Greats by Throbbing Gristle featured contrasting imagery. The back cover features what appears to be the same image in black and white. A closer look reveals a nude male corpse now lying in the grass in front of the band.
20 Jazz Funk Greats by Throbbing Gristle featured contrasting imagery. The back cover features what appears to be the same image in black and white. A closer look reveals a nude male corpse now lying in the grass in front of the band.
Industrial Music for Industrial People was originally coined by Monte Cazazza[2] as the strapline for the record label Industrial Records (founded by British art-provocateurs Throbbing Gristle, the musical offshoot of performance art group COUM Transmissions).
The first wave of this music appeared in 1977 with Throbbing Gristle and NON. These releases often featured tape editing, stark percussion and loops distorted to the point where they had degraded to harsh noise. Vocals were sporadic, and were as likely to be bubblegum pop as they were to be abrasive polemics.
Re/Search #6/7: Industrial Culture Handbook collected numerous interviews from various artists involved in circle surrounding Industrial Records.
Re/Search #6/7: Industrial Culture Handbook collected numerous interviews from various artists involved in circle surrounding Industrial Records.
Early industrial performances often involved taboo-breaking, provocative elements, such as mutilation, sado-masochistic elements and totalitarian imagery or symbolism, as well as forms of audience abuse.
Swedish rock act The Leather Nun, were signed to Industrial Records in 1978, being the first non-TG/Cazazza act to have an IR-release. Their only IR-release, Slow Death EP (IR 007, nov '79), rapidly climbed the alternative charts in the UK and was on power play on the influential John Peel BBC1 radioshow for two weeks in December '79.[citation needed]
Bands like Test Dept, Cabaret Voltaire, Clock DVA, Factrix, Autopsia, Nocturnal Emissions, Esplendor Geometrico, Whitehouse, Severed Heads and SPK soon followed. Blending electronic synthesisers, guitars and early samplers, these bands created an aggressive and abrasive music fusing elements of rock with experimental electronic music. Artists often used shock-tactics including explicit lyrical content, graphic art and Fascistic imagery; at the forefront of this were Croc Shop and Laibach. Industrial Records experienced a fair amount of controversy after it was revealed that it had been using an image of an Auschwitz crematorium as its logo for a number of years.
Across the Atlantic, similar experiments were taking place. In San Francisco, shock/performance artist Monte Cazazza (often collaborating with Factrix and Survival Research Labs/SRL) began working with harsh atonal noise. Boyd Rice (aka NON) released several more albums of noise music, with guitar drones and tape loops creating a cacophony of repetitive sounds. In New Zealand, experimental / art rock groups sprouted from the underground such as The Skeptics, Hieronymus Bosch (NZ), Fetus Productions, Ministry of Compulsory Joy and The Kiwi Animal.
In the rest of Europe, particularly in Italy, work by Maurizio Bianchi/M.B./Sacher-Pelz at the end of 1979/beginning of 1980, with some electronic/radiographic extreme works edited in a very limited edition ("Cainus", "Venus", "Cease To Exist", "Velours", "Mectpyo Blut" cassette-tapes, and "Symphony For A Genocide", "Menses", "Neuro Habitat" LPs).
In France, early artists influenced by Industrial Records included Vivenza, Art&Technique, Pacific 231, Étant Donnés, Le Syndicat and Die Form.
In Germany, Einstürzende Neubauten were performing daring acts, mixing metal percussion, guitars and unconventional "instruments" (such as jackhammers and bones) in elaborate stage performances that often damaged the venues they were playing in.
[edit] Post-industrial developments
Throughout the early to mid 1980s, the post-industrial movement began to emerge around the world. Taking influence from the harsh experimentation of the original foundation-laying artists, these bands began to forge the recognizable musical frames in which industrial music exists today. Skinny Puppy from Vancouver Canada (debuting with Back and Forth in 1984), KMFDM, from Germany (debuting with Opium in 1984), Front 242, the pioneers of EBM from Belgium (debuting with Geography in 1982) and Foetus from Australia (debuting with Deaf in 1981) are some of the most notable second-wave artists who helped popularize and redefine the genre amongst the underground music culture (and laying the foundations for most future sub-divisions of the genre). Although notable artists Ministry were active at the time (releasing their debut With Sympathy in 1983), their evolution to legitimate industrial music did not take place until their second release, Twitch in 1986 - at which point they became one of the most influential artists to the later emerging coldwave scene, and even later to industrial metal.
In the early 1980s the Chicago-based record label Wax Trax! helped to forge the industrial music genre. At the forefront of this explosion of musical exploration were bands such as Chicago's Ministry, Acumen Nation, My Life With The Thrill Kill Kult and Die Warzau. Wax Trax was one of the first labels to carry this new strain of punk-influenced Industrial music. It was one of the most widely respected labels of the genre.
By the late 80s, the scene had grown considerably as the music became a staple of the club scene - artists were emerging from all over the world and record sales of key artists were increasing rapidly. One of the most important albums in the genre's development was Nine Inch Nails' comparatively commercially-structured "Pretty Hate Machine," released in 1989. NIN performances began breaking the style into mainstream rock and punk culture at that point. Ultimately the band's accomplishments, alongside the likes of Ministry, led to the further development of not only the style as a whole, but of a number of industrial/rock and to an even greater degree, industrial/metal fusion sub-genres to later emerge.
The genre enjoyed relatively popular mainstream attention throughout the mid 1990's. Thanks to the charting success of albums such as Ministry's "Psalm 69: The Way to Succeed and the Way to Suck Eggs" and Nine Inch Nails' Broken, eventually leading to the multi-million selling releases of Nine Inch Nails' "The Downward Spiral" and to some degree even Marilyn Manson's "Antichrist Superstar". Soon thousands of new distantly industrial influenced musicians came onto the scene. They came to be popularly called simply industrial, though they may have shared all but nothing in style or execution with the original string. Subsequently, numerous new industrial labels appeared to accommodate the blossoming market, such as Pendragon, 21st Circuitry and Energy Records. However, like many of the artists (often solo-musician projects who aimed to emulate Nine Inch Nails' commercial success), these labels were short lived and by 2000 most had ceased to exist, with the exception of Metropolis Records.
Once again, most likely attributed to the influence of Nine Inch Nails, a number of bands took industrial's abrasive electronics and simply incorporated them into a mainstream metal or hard-rock format,including artists such as Filter, Stabbing Westward, Econoline Crush, Fear Factory and Gravity Kills.
[edit] Post-industrial genres
Main articles: Post-industrial (music) and List of post-industrial music genres and related fusion genres
Over the years, the term 'post-industrial' has come to refer to music having the industrial aesthetic such as noise/power electronics, neofolk, death industrial, martial industrial, dark ambient, and occasionally old school EBM. [3] [4]
[edit] References
Thursday, August 30, 2007
Tuesday, August 28, 2007
Monday, August 27, 2007
Saturday, August 25, 2007
Friday, August 24, 2007
Manhunt 2 Cleared for North American Release
By Tom Ivan Print | Send to a friend | Email the editor
Rockstar Games announced Friday that controversial title Manhunt 2 has been granted an M for Mature rating in North America, clearing the way for an October release.
ImageIn June, publisher Take-Two suspended the release of the horror title when the ESRB (Entertainment Software Rating Board) issued it with an AO (Adults Only) rating. Manhunt 2 will now be released in North America on October 31 for Sony’s PlayStation 2, PlayStation Portable and Nintendo’s Wii.
Manhunt 2 was granted an M for Mature (ages 17+) rating only following the submission to the ratings board of what Take-Two termed a “modified” version of the game.
"Manhunt 2 is important to us, and we're glad it can finally be appreciated as a gaming experience," said Sam Houser, founder and executive producer of Rockstar Games. "We love the horror genre. Manhunt 2 is a powerful piece of interactive story telling that is a unique video game experience. We think horror fans will love it."
"Manhunt 2 is an extraordinary game, and we eagerly anticipate its release in North America," added Strauss Zelnick, Chairman of Take-Two.
Manhunt 2 was also denied a rating by the BBFC (British Board of Film Classification), a decision which means the game cannot currently be released in the UK. Rockstar is in the process of attempting to overturn the decision by appeal.
The horror game is the debut title from the newly formed Rockstar London studio, which is developing the game in conjunction with series creator Rockstar North.
Thursday, August 23, 2007
Wednesday, August 22, 2007
Monday, August 20, 2007
Updated: 9:54 a.m. PT Aug 20, 2007
NEW YORK - Leona Helmsley, the cutthroat hotel magnate whose title as the “queen of mean” was sealed during a tax evasion case in which she was quoted as snarling “only little people pay taxes,” died Monday at age 87.
Helmsley died of heart failure at her summer home in Greenwich, Conn., said her publicist, Howard Rubenstein.
Already experienced in real estate before her marriage, Helmsley helped her husband Harry run a $5 billion empire that included managing the Empire State Building. She became a household name in 1989 when she was tried for tax evasion. The sensational trial included testimony from disgruntled employees who said she terrorized both the menial and the executive help at her homes and hotels.
Sunday, August 19, 2007
This is really disturbing.Might I myself had made the same choice as a kid? I honestly don't know....
The Doll Experiments...
The Clarks' doll experiments grew out of Mamie's master's degree thesis and yielded 3 papers between 1939 and 1940. They found that Black children often preferred to play with white dolls over black; that, asked to fill in a human figure with the color of their own skin they frequently chose a lighter shade than was accurate, and that they viewed white as good and pretty, but black as bad and ugly.[1] They viewed this as evidence of internalized racism caused by stigmatization.
Saturday, August 18, 2007
Thursday, August 16, 2007
NFL quarterback Michael Vick is facing federal charges for allegedly participating in illegal dogfighting, and now he's being hit with a "$63,000,000,000 billion dollar" lawsuit filed by South Carolina inmate Jonathan Lee Riches, who says Michael stole his pit bulls and sold them on eBay to buy "missiles from Iran." Fox News reports:
The complaint also alleges that Vick would need those missiles because he pledged allegiance to Al Qaeda in February of this year.
“Michael Vick has to stop physically hurting my feelings and dashing my hopes,” Riches writes in the complaint.
Riches wants $63 billion dollars “backed by gold and silver “ delivered to the front gates to the Williamsburg Federal Correctional facility in South Carolina. Riches is an inmate at the facility serving out a wire fraud conviction.
Wednesday, August 15, 2007
Tuesday, August 14, 2007
Monday, August 13, 2007
MIKE WIERINGO PASSES AWAY AT 44
by Jonah Weiland, Executive Producer
Posted: August 13, 2007 — More From This Author
The comics industry has lost one of its most respected members this weekend – artist Mike Wieringo has passed away at the age of 44, according to numerous sources speaking with CBR News. Details are unclear right now, but early reports say he experienced a sudden and massive heart attack. Newsarama is reporting that Sunday afternoon Wieringo experienced chest pains and did call 911, but first responders were unable to reach him in time.
Wieringo was born June 24th, 1963 and shot to fame in the early 1990s working with writer Mark Waid on a memorable and character defining run on "The Flash." From that point on, Wieringo worked steadily in the comics industry, including teaming with writer Todd DeZago on the creator owned series "Tellos," which is set to be collected by Image Comics. Wieringo’s mainstream work continued with Marvel Comics, where in 2002 he and Waid reteamed for a memorable run on "Fantastic Four" and has more recently been seen working on "Friendly Neighborhood Spider-Man" with Peter David and "Spider-Man and the Fantastic Four" with writer Jeff Parker.
Wieringo was always a friend to CBR and was until recently a long time client of its parent company, Boiling Point Web Hosting. On his official Web site, he posted a new sketch three days a week. His last sketch posted Friday, seen below, fittingly featured characters from his series "Tellos." He hosted his official forum here on CBR where a memorial thread has begun. Often his fans would post the art they were working on and ask for his criticism, which he was always happy to share.
Sunday, August 12, 2007
BioShock promises an environment where almost anything can be turned into a weapon. Players can also biologically modify their bodies to experiment with different battle techniques, explore unique underwater deco with realistic water effects, and make mature moral decisions within the game according to Take-Two.
We've got our eye on BioShock as an early Game of the Year candidate. Everything about the game -- from the horrifying atmosphere to the taut RPG customizations -- is top of the line. Even the graphics are stunning, possibly the best yet seen on the Xbox 360. Needless to say, BioShock has all the markings of a triple-A game, and should be a top consideration this fall for all first-person shooter fans.
Saturday, August 11, 2007
Friday, August 10, 2007
I am not my current employment status
Bum
The Fight for a Man's Rights
Bothersome new trend: these articles, which have sprung up in the wake of the film Something New, in which black women lament the dearth of "marriageable" black men.
It's not like it hurts my feelings or anything (since when is it my goal to be marriageable?), but I do find it unfair. I mean, what's the likelihood of seeing the opposite: an article in which single black men (such as myself!) lament the dearth of available black women who possess the kind of traits a man might find desirable in a woman... like, I don't know, the ability to grow a full, healthy head of hair, or a generally positive outlook on life?
Exactly!
You can check the latest of these articles, which is appearing a good year-plus since the film was last in theaters, on the CNN website. A guy emailed it to me the other day and was like, "Dude, I know you're going to comment on this!" Have I become that predictable? Well, whatever.
'Could Mr. Right be white?' More black women consider 'dating out'
The thing is, since last year there was that story in the New York Times about how more women these days are unmarried than they are married, and how most black women (who are really the ones dragging down the statistics) don't stand a snowball's chance in heck of finding a spouse, "marriageable" or otherwise, and I think that's served as a wake up call to a lot of women; the difference between finally getting married, or dying poor and lonely in the ghetto just like their mothers and their grandmothers before them, could be hitching oneself to a crack-ass cracka.
I guess, to hear the CNN story tell it, they aren't so hard up as to consider an Asian, but the idea of so many black women considering white men as their "safety" does seem rather presumptous, no? Hmm... I've been having a hard time making ends meet myself; maybe I'll just go marry Scarlett Johannsson. Who knows, maybe she's really into underground hip-hop and atheism and... um, the Real World. Stop being so racist.
Here's my thing: Isn't all of this talk about how a black woman can't find a man, because so many black men these days are incapable of holding down a steady, good-paying job, a tacit admission that women are basically whores looking to take a brother for his money? What ever happened to liking a man, and perhaps even marrying him, just because he's a good person?
It's especially ironic when you consider that black women are so quick to play the race card, accusing successful black men of marrying white women because they're viewed as status symbols. You wonder if it ever occurred to them that maybe these women just possess more of the traits men find desirable in women.
Peep this bit from the CNN story:
"I think a lot of black women are realizing or feeling that the pickings are slim," [blogger Evia Moore] said.
They're made even slimmer, grumble many black women, by high rates of successful black men choosing blondes. For some, they argue, white wives are the ultimate status symbol.
"They don't want a dark chocolate sister laying around their swimming pool," Moore said.
So wait, when a brother who has the means goes out and finds himself a snow bunny that's gotta be some sort of race issue, but when a black woman marries a white man because he's got a lot of money that's just normal? Pshaw!
This is from Bol at Byron Crawford.com.
Nevermind the lame video...turn up the speakers and get down to The Postal Service rockin "Such Great Heights".
This chick named Feist comes from Canada.This tune has a cool vibe to it.Two Thumbs Up!The first clip showcases her really cool voice in the chorus.The second has a cool ass beat...and you may have heard it in the current "Chocolate" cell phone ad campaign.Not to mention that she is super cute...kinda like Liz Hurley minus 15 years.
Sunday, August 05, 2007
LostHighway9 member ( and former Christion member) Allen...has a new metal band called A Band Called Pain.Here they are.....
Saturday, August 04, 2007
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