Assimilate

Informationen zum Autor
S. Alexander Reed is Assistant Professor of Music Theory at the University of Florida. He has published and presented research on vocal timbre, embodiment, postpunk music, and the recordings of Nine Inch Nails, Laurie Anderson, Rammstein, and Tori Amos. Reed has released five albums with his own gothic-industrial band, ThouShaltNot.

Klappentext
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.

Inhaltsverzeichnis
INTRODUCTION ; 1. A FADING VISION LOST IN TIME ; 2. THE PAN-REVOLUTIONARY ; 3. THE "I"-WORD ; PART 1: TECHNOLOGY AND THE PRECONDITIONS OF INDUSTRIAL MUSIC ; I. ITALIAN FUTURISM ; 1. INDUSTRY ; 2. THE AESTHETICS OF THE MACHINE ; 3. CRASH ; II. WILLIAM S. BURROUGHS ; 1. JUNKIE ; 2. THE CONTROL MACHINES ; 3. BRAINWASHING AND THE CONFLATION OF AUTHORITY ; 4. MEDIATIC VERSES ; 5. THE CUT-UP ; 6. PROCESS AS COMPOSITION ; 7. MEDIA ; 8. TECHNO-AMBIVALENCE ; III. INDUSTRIAL MUSIC AND THE AVANT-GARDE ; 1. NOISE AND REVISIONISM ; 2. THE REVOLUTIONARY CLASS ; PART 2: INDUSTRIAL GEOGRAPHY ; IV. NORTHERN ENGLAND ; 1. PROGRESS IN HELL ; 2. THE ORIGINAL SOUND OF SHEFFIELD ; 3. MEATWHISTLE AND CLOCKDVA ; 4. THROBBING GRISTLE ; 5. MANCHESTER IN THE SHADOW OF WAR ; V. BERLIN ; 1. AN ISLAND OUT OF THIS PLANET ; 2. STRATEGIES AGAINST ARCHITECTURE ; 3. GERMAN-NESS ; 4. INGENIOUS DILETTANTES ; 5. WEST GERMANY BEYOND BERLIN ; VI. SAN FRANCISCO ; 1. MADNESS IN ANY DIRECTION, AT ANY HOUR ; 2. MONTE CAZAZZA AND SELF-PROPAGANDA ; 3. Z>'EV AND SURVIVAL RESEARCH LABORATORIES ; 4. FACTRIX AND CHROME ; VII. MAIL ART, TAPE TECHNOLOGY, AND THE NETWORK ; 1. FLUXUS AND UFOS ; 2. A HISTORY OF TAPE TRADING ; 3. TAPING AS A POLITICAL ACT ; 4. THE ETERNAL NETWORK ; 5. A VIRTUAL SCENE ; PART 3: INDUSTRIAL MUSIC AS MUSIC ; VIII. THE TYRANNY OF THE BEAT: DANCE MUSIC AND IDENTITY CRISIS ; 1. THOSE HEADY DAYS OF IDEALISM ARE OVER ; 2. IRONY ; 3. TECHNOLOGY AND RHYTHM ; 4. FUTURIST POP ; 5. PLEASURE ; 6. INDUSTRIAL IDENTITY ; IX. 'EV AND SURVIVAL RESEARCH LABORATORIES ; 4. FACTRIX AND CHROME ; VII. MAIL ART, TAPE TECHNOLOGY, AND THE NETWORK ; 1. FLUXUS AND UFOS ; 2. A HISTORY OF TAPE TRADING ; 3. TAPING AS A POLITICAL…

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