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Assimilate: A Critical History of Industrial Music Reed 2013 Paperback
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- Release Year
- 2013
- ISBN
- 9780199832606
Über dieses Produkt
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0199832609
ISBN-13
9780199832606
eBay Product ID (ePID)
150537922
Product Key Features
Book Title
Assimilate : a Critical History of Industrial Music
Number of Pages
376 Pages
Language
English
Publication Year
2013
Topic
General, Genres & Styles / Pop Vocal
Illustrator
Yes
Genre
Music
Format
Trade Paperback
Dimensions
Item Height
1.1 in
Item Weight
19.2 Oz
Item Length
9.1 in
Item Width
6.1 in
Additional Product Features
Intended Audience
Trade
LCCN
2012-042281
Reviews
Well-written and impeccably researched, Assimilate is worth a look not only by music fans looking to learn about this industrial wall of sound, but also by scholars of pop culture wondering why the kids feel the way they do.
Dewey Edition
23
Dewey Decimal
781.64809
Table Of Content
Introduction1. A Fading Vision Lost in Time2. The Pan-Revolutionary3. The "I"-WordPart 1: Technology and the Preconditions of Industrial MusicI. Italian Futurism1. Industry2. The Aesthetics of the Machine3. CrushII. William S. Burroughs1. Junkie2. The Control Machines3. Brainwashing and the Conflation of Authority4. Mediatic Verses5. The Cut-Up6. Process as Composition7. Media8. Techno-AmbivalenceIII. Industrial Music and the Avant-Garde1. Noise and Revisionism2. The Revolutionary ClassPart 2: Industrial GeographyIV. Northern England1. Progress in Hell2. The Original Sound of Sheffield3. Meatwhistle and ClockDVA4. Throbbing Gristle5. Manchester in the Shadow of WarV. Berlin1. An Island Out of This Planet2. Strategies Against Architecture3. German-ness4. Ingenious Dilettantes5. West Germany Beyond BerlinVI. San Francisco1. Madness in Any Direction, at Any Hour2. Monte Cazazza and Self-Propaganda3. Z'ev and Survival Research Laboratories4. Factrix and ChromeVII. Mail Art, Tape Technology, and the Network1. Fluxus and UFOs2. A History of Tape Trading3. Taping as a Political Act4. The Eternal Network5. A Virtual ScenePart 3: Industrial Music as MusicVIII. The Tyranny of the Beat: Dance Music and Identity Crisis1. Those Heady Days of Idealism Are Over2. Irony3. Technology and Rhythm4. Futurist Pop5. Pleasure6. Industrial IdentityIX. "After Cease to Exist": England 1981-19851. The Mission is Terminated2. London3. Beyond LondonX. Body to Body: Belgian EBM 1981-19851. A Satellite State2. Luc Van Acker3. Front4. Musical Order5. Bodily OrderXI. Industrial Music as a Theatre of Cruelty1. Artaud-Damaged2. Theatricalities of All KindsXII. "She's a Sleeping Beast": Skinny Puppy and the Feminine Gothic1. From Pop to Puppy2. Vancouver's Fertile Ground3. Disrupting Maleness4. . The Feminine GothicPart 4: People and Industrial MusicXIII. Wild Planet: WaxTrax! Records and Global Dance Scenes1. Industrial Music and the Mainstream2. The Beginnings of WaxTrax3. Ministry4. Mixing and Merging5. The Business of Chaos6. Clubbing and Participatory Culture7. New Beat8. The WaxTrax! HeydayXIV. Q: Why Do We Act Like Machines? A: We Do Not1. Pretty Hate Machine2. Industrial Harmony3. Language, the Self, and Gender4. Get Me an Industrial Band5. Resembling the MachineXV. Death1. Death as Event2. Death as Metaphor3. Death as Fashion4. New LifeXVI. Wonder1. Covenant and the Ubiquitous Sublime2. Apoptygma Berzerk and the Spontaneous Sublime3. VNV Nation and the Unthinkable Sublime4. The Futurepop Backlash5. Clubbed to Death6. The Longevity of Industrial Bands7. Industrial Music Is Dead?Part 5: Meaning and RevolutionXVII. Back and Forth: Industrial Music and Fascism1. Extremism as the Norm2. Silent Politics3. Loud Apolitics4. The Effects of Fascism's Spectre5. Fascist Assimilation6. The Hidden ReverseXVIII. White Souls in Black Suits: Industrial Music and Race1. Whiteness2. The Inheritance of Blues, Jazz, and Dub3. Exotica, Caricature, and the Techno-Oblivious4. Technology and Racial Engagement5. Black and White6. Repetition and the English BalladXIX. Is There Any Escape for Noise?1. Unpalatable Truths2. The First Two Options3. Transgression as Law4. The Future Happened Already5. Pleasure, Flag Planting, and Revolution6. The Third Mind
Synopsis
"Industrial" is a descriptor that fans and critics have applied to a remarkable variety of music: the oildrum pounding of Einst rzende Neubauten, the processed electronic groans of Throbbing Gristle, the drumloop clatter of Skinny Puppy, and the synthpop songcraft of VNV Nation, to name just a few. But the stylistic breadth and subcultural longevity of industrial music suggests that the common ground here might not be any one particular sound, but instead a network of ideologies. This book traces industrial music's attitudes and practices from their earliest articulations--a hundred years ago--through the genre's mid-1970s formation and its development up to the present and beyond. Taking cues from radical intellectuals like Antonin Artaud, William S. Burroughs, and Guy Debord, industrial musicians sought to dismantle deep cultural assumptions so thoroughly normalized by media, government, and religion as to seem invisible. More extreme than punk, industrial music revolted against the very ideas of order and reason: it sought to strip away the brainwashing that was identity itself. It aspired to provoke, bewilder, and roar with independence. Of course, whether this revolution succeeded is another question... Assimilate is the first serious study published on industrial music. Through incisive discussions of musicians, audiences, marketers, cities, and songs, this book traces industrial values, methods, and goals across forty years of technological, political, and artistic change. A scholarly musicologist and a longtime industrial musician, S. Alexander Reed provides deep insight not only into the genre's history but also into its ambiguous relationship with symbols of totalitarianism and evil. Voicing frank criticism and affection alike, this book reveals the challenging and sometimes inspiring ways that industrial music both responds to and shapes the world. Assimilate is essential reading for anyone who has ever imagined limitless freedom, danced alone in the dark, or longed for more noise., "Industrial" is a descriptor that fans and critics have applied to a remarkable variety of music: the oildrum pounding of Einstürzende Neubauten, the processed electronic groans of Throbbing Gristle, the drumloop clatter of Skinny Puppy, and the synthpop songcraft of VNV Nation, to name just a few. But the stylistic breadth and subcultural longevity of industrial music suggests that the common ground here might not be any one particular sound, but instead a network of ideologies. This book traces industrial music's attitudes and practices from their earliest articulations--a hundred years ago--through the genre's mid-1970s formation and its development up to the present and beyond. Taking cues from radical intellectuals like Antonin Artaud, William S. Burroughs, and Guy Debord, industrial musicians sought to dismantle deep cultural assumptions so thoroughly normalized by media, government, and religion as to seem invisible. More extreme than punk, industrial music revolted against the very ideas of order and reason: it sought to strip away the brainwashing that was identity itself. It aspired to provoke, bewilder, and roar with independence. Of course, whether this revolution succeeded is another question... Assimilate is the first serious study published on industrial music. Through incisive discussions of musicians, audiences, marketers, cities, and songs, this book traces industrial values, methods, and goals across forty years of technological, political, and artistic change. A scholarly musicologist and a longtime industrial musician, S. Alexander Reed provides deep insight not only into the genre's history but also into its ambiguous relationship with symbols of totalitarianism and evil. Voicing frank criticism and affection alike, this book reveals the challenging and sometimes inspiring ways that industrial music both responds to and shapes the world. Assimilate is essential reading for anyone who has ever imagined limitless freedom, danced alone in the dark, or longed for more noise., Noisy, confrontational, and controversial, industrial music first emerged in the mid-1970s around bands and performance groups who combined avant-garde electronic music with the provocative attitude and style of punk rock. In its early days, bands such as Throbbing Gristle and Cabaret Voltaire produced a genuinely radical form of music bent on recontextualizing the signs and methods of cultural authority in an attempt to liberate listeners from the trappings of modernity. But, as industrial music took on more and more elements of popular music over the course of the 1980s it slowly abandoned its mission. By the mid-1990s, it was seen as simply another style of pop music, and had ironically fallen into the trappings it sought by its very existence to destroy. In Assimilate, S. Alexander Reed provides the first ever critical history of this fascinating and enigmatic genre tracing industrial music's trajectory from Throbbing Gristle's founding of the record label Industrial Music in 1976, to its peak in popularity on the back of the band Nine Inch Nails in the mid-1990s, and through its decline to the present day. Through a series of revealing explorations of works spanning the entirety of industrial music's past, and drawing on extensive interviews with musicians, record label owners, DJs, and concert promoters, Reed paints a thorough historical picture that includes not only the bands, but the structures that supported them, and the scenes they created. In so doing, he reveals an engaging story of an ideological disintegration and its aftermath. The definitive text on the genre, Assimilate is essential reading for fans of industrial music, and scholars and students of popular music alike., Industrial is a descriptor that fans and critics have applied to a remarkable variety of music: the oildrum pounding of Einstürzende Neubauten, the processed electronic groans of Throbbing Gristle, the drumloop clatter of Skinny Puppy, and the synthpop songcraft of VNV Nation, to name just a few. But the stylistic breadth and subcultural longevity of industrial music suggests that the common ground here might not be any one particular sound, but instead a network of ideologies. This book traces industrial music's attitudes and practices from their earliest articulations -- a hundred years ago -- through the genre's mid-1970s formation and its development up to the present and beyond.Taking cues from radical intellectuals like Antonin Artaud, William S. Burroughs, and Guy Debord, industrial musicians sought to dismantle deep cultural assumptions so thoroughly normalized by media, government, and religion as to seem invisible. More extreme than punk, industrial music revolted against the very ideas of order and reason: it sought to strip away the brainwashing that was identity itself. It aspired to provoke, bewilder, and roar with independence. Of course, whether this revolution succeeded is another question...Assimilate is the first serious study published on industrial music. Through incisive discussions of musicians, audiences, marketers, cities, and songs, this book traces industrial values, methods, and goals across forty years of technological, political, and artistic change. A scholarly musicologist and a longtime industrial musician, S. Alexander Reed provides deep insight not only into the genre's history but also into its ambiguous relationship with symbols of totalitarianism and evil. Voicing frank criticism and affection alike, this book reveals the challenging and sometimes freeiring ways that industrial music both responds to and shapes the world. Assimilate is essential reading for anyone who has ever imagined limitless freedom, danced alone in the dark, or longed for more noise., In Assimilate, S. Alexander Reed provides the first ever critical history of industrial music. Through a series of revealing explorations of works spanning the entirety of industrial music's past, and drawing on extensive interviews, Reed paints a thorough historical picture that includes not only the bands, but the structures that supported them, and the scenes they created.
LC Classification Number
ML3528.7.R44 2013
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