Industrial Music

The industrial music , or Indus , is a hybridization of the experimental Musique with the Electronic music. It is also a seedbed of extremely varied sub-genera, mixing Bruitisme, extreme imagery, samplings and joinings sound, instruments Rock or electronic.

Bases and influences first

Particularly multiform kind, the industrial music (or undue ) draws its roots in work and the reflections of the futuristic Italian of the beginning of the 20th century and the sound experiments of John Cage or of French, Pierre Schaeffer, Pierre Henry, Pierre Boulez, in the Années 1950 and afterwards. These influences crystallized in the Années 1970 in reaction to the inanity of the music of the time, dominated by the star system and the mercantilisation of the music.

Apès a phase of development dominated by a strong ideological impregnation, the music of the founders underwent many influences to be confined of an extremely varied descent of kinds and musical sub-genera. Rock'n'roll with the techno while passing by the folk, the hip-hop, the progression of elements bruitists in the most commercial pop music even, one can say that the industrial music is actually the seminal kind which changed the face of the music, after the rock'n'roll roll in its time.

At the origin of the movement, the punk one and the years 1970

The industrial music was born at one transition period from our history. The industrial music always used the media of mass to diffuse its ideas and its works. Moreover, the movement, was always identified with popular rather than the opposite. In short, the industrial music uses the massive means of diffusion to counter this last but with a diffusion often more than confidential (between 500 and 1 000 specimens on average). It is there only one of its very many contradictions which E. Grynszpan justifies by the high cost of production for the artists as well as the will of the actors of the movement to remain confidential (“ Keep it underground! ”).

The Années 1970 are an important hinge of our history. Musicalement the rock'n'roll starts to be blown. The Punk mark this rupture with a growing old rock'n'roll and announces the future social conflicts while preaching a cynical position. The punk one proposes an aggressive, aggressive music with wish, in charge of energy which must be consumed very quickly (short pieces, saturated of sounds in extreme cases with the noise, critical pseudo-radical). It is necessary to mean urgency, rupture at the same time real and infantile which must awake, to draw from the torpor in the goal to alert but the No future the punk one prevents any positive assertion, any construction of a reflection and is limited to a social without precise base and self-destroying dispute. It is in this context that activisms prepare which want to be more thought and controlled industrial music.

The movement " industriel" itself

The industrial music of the beginnings is characterized especially by its authors, artistic research through extreme performances, an attitude and a highly provocative message. The majority of the founders of the industrialist are not especially Musicien S, but rather of the Intellectuel S and the Artiste S Performer S , seeking to shake by a committed speech a social or political yoke.

Characteristics

According to Jon Savage the industrial scene is distinguished through some common points. It should be recalled that there is no licensed leader nor of mentor since the artists or the groups work on close topics from where the idea of culture:

autonomous Organization : Choice to create its own networks of manufacture and diffusion. Useless to pass by official recording companies.

Access to information : “War of information” means that the fight for control is not physical any more (to conquer a country) but related to the communication. Which are the techniques of dissemination and propaganda of information?

Uses of synthesized sounds and the anti-music : Thorough music research in order to recreate the sound environment of our current world by the use of synthesized and nonmusical sounds.

Uses of extra-musical elements : Integration of elements literary, philosophical, spiritual, sexual, of vidéos at the time of the concerts, in the discs, booklets accompanying the discs.

Tactical of shocks : Uses of oppressive elements at the time of concerts (will infra low, electric arcs, glass crushed, walls sound) in order to show the conditioning of the people and their capacity to support such attacks.
Cabaret Voltaire, Throbbing Gristle, SPK voluntarily caused the spectators in this direction.

One could add to that:

the art of the transgression

It is impossible to speak about the industrial scene without reconsidering this subjacent idea which crossed the movement. To affirm that a word is used in order to control some its contents is not sufficient. “Pornographie” belongs to this category for example. And each one agrees to comply with of them at the same time implicit and explicit rules by more or less strict control that it gives some.

However to suggest going beyond the taboos thus to transgress a rule, a law can be catastrophic if there is not, at the beginning, a good comprehension of fundamental human laws. All the problem of the transgression would be to be authorized to do all and anything with the title of the transgression.

On the contrary, an idea or a concept which would like to express a transgression can the being only if the person incorporates in itself a certain discipline, a certain rigor which will enable him to go beyond without reaching the fundamental human laws. That can appear paradoxical to affirm that and yet the place even where rigor and ethics are expressed best it is Article.

To transpose the research field towards another media

The principal contribution of the industrial music and the post-industrial scene will have been to move the field of the searchs for a support towards another by using media of mass and popular. In this direction the industrial scene completely succeeded in its bet in order to make convey ideas in a nonconventional way and create different musical approaches. It is not rare to hear in a current techno group this referent impossible to circumvent: to use the musical media to transmit conventional ideas or not. What poses in return and in a major manner the question of the book and supposed transmission of the knowledge that it contains. Is it possible to obtain the same intimate report/ratio with the culture with media different from paper and writing?

Today the term of undue passed in the current language and everyone recognizes the work of clearing which these groups carried out by preparing neither more nor less the ground with the scene Techno and a whole music scene which existed before. Underground and confidential movement, no one it will not deny it, but with the influence more than some.

The Industrial scene: a music? a culture?

Can one say that the industrial scene is a musical genre? Does there exist a clean, recognizable kind between all, which would give an identity to the industrial music? Does one have to include there the use of nonconventional instruments, the creation of oppressive or misty environments starting from natural, rough or synthesized recordings?

It is rather difficult to define a kind for the industrial music, the independent groups were évertués to cross the great traditional musical genres: anti-music with the rock'n'roll while passing by symphonic or more electronic and acoustic orchestrations. Laibach, SPK and Test Dept is good examples of this musical transversality. The reason in is simple, it is not a question to be identified with a musical genre but to use such or such musical genre in order to express, to transmit an precise idea impossible to diffuse differently.

It is certainly the most interesting and interested contribution of the post-industrial scene, not to be identifiable with a label but to use and make use of the existing labels to diffuse an idea or a concept. Consequently the term of “culture” is much closer to the industrial scene than of the term “music” which does not return to nothing in oneself. But it is also an evolution compared to the well felt title of the work worship, to higher see, Manuel of the industrial crop, even if this term of “culture” were not taken exactly in the same direction as that considering here.

About which culture is it then? The post-industrial scene kept the great sets of themes of its predecessors and, in that, we remain in a popular culture but not with the commercial direction of the term nor to the political direction but within the meaning of what makes folklore in our modern society. Today our folklore passes from the “secret service” to “the information theory”, of the “utopian worlds” to the “space conquest”, “of the use of drugs” to “fascination of marvellous”, of “médiatico-official oppression” to “the absolute freedom”, “of the occultism” to “the superabundance of the knowledge”, of the “sexual kinds” to the “question of the human identity”.

In the final analysis the post-industrial scene testifies to that and anything else. Just like the group SPK in one of its proclamations affirmed it. “A company which is able to create the unconscious one is also able to control it by the means of the “customs and habits” that the company manufactures and it is the only means which it found to remain…” (personal translation)

To give an effective form of it would be necessary to modify the signs of the zodiac like had recommended it J.G. Ballard with its Horoscope 2000. The folklore of our company does not have anything any more to see with the signs of cancer, the lion, Sagittarius. Here enumerated new zodiacaux signs according to the author (without their explanations):

The sign of the Camera, the Computer, the Cloning, DNA, the Parabola S (or radio telescopes, parabolic aerials), of the Sex shop, the Psychoanalysis, the Hypodermic syringe, the Vibrator, the Astronaut.

Reception and influence of the Industrial scene

More than thirty years after its creation (in the middle of the years 1970) this label and the groups or the artists who are attached there still worry. It has been only for a few years that one starts “to be less afraid” of this movement which is not one undoubtedly related to success growing and deserved headlights groups such as Einstürzende Neubauten, Laibach or of the artist Genesis P-Orridge (Throbbing Gristle, Psychic TV, Thee Majesty) like with the relative success of the post-industrial musics based on the Electronic music.

The reception of the industrial music in France was always painful. Only some initiates followed this movement which was more largely spread in the countries of the east and the north of Europe. One can raise in filigree in this very reserved attitude of the French cultural scene with regard to the industrial music the dichotomy which it does not manage to exceed between culture with the noble direction of the term and popular culture. The followers of this current think that the new proclamations literary, poetic and philosophical are located in the middle of the industrial scene while the French culture always awaits firm footing its new originators (poetic, literary, philosophical) in the field of the writing, whereas they changed media for a long time.

The obsession of control and the occult one

The protagonists of the industrial music did not have cease to explore our nightmares and our dreams. All that constituted our post-modern world was screened by the groups or the artists being attached of near or by far to the industrial music (to know, knowledge, political organizations, nuns, learned societies, secret societies, secret services, organizations military and paramilitary, trade, political activism that it is of left or right-hand side, uses, handling of symbols, sexuality, pornography, deviating sexuality, transsexualism, violences, scarifications ritual or not, criminal activities, psychopathes, techniques of control).

Genesis P-Orridge explains why the origin of the “industrial” word, refers to the industry of the music, the industrialization of our world but also with what operates on us, which controls us. The “Blues” was born from the slave system. But nobody puts the question to know what thus produces this slavery the “Blues”. It is enough to raise the question and to read again the “industrial” word to include/understand its origin of it. It is enough to not follow the glance of the singer of “Blues” towards the depth of what it feels but towards this house “Victorienne” which controls its life. (according to an interview of Genesis P-Orridge in Industrial culture handbook).

The theory of control is not a means nor an end but is to return in an abrupt way what our company became: a paranoiac company. The evolution of the artist Chris Watson (ex- Cabaret Voltaire, ex- Hafler Trio) is to be meditated. This last, for a few years, has recorded nothing any more but sound landscapes, natural elements without any other intervention that the quality of the recording. It joined a whole still confidential scene which is interested in the natural sound phenomena not organized and which tries to express the gasoline in experiments of it.

Here an unexpected answer to the idea of control and questions us in return. Admittedly when I travel by my car to go from one place to the other I control certain things with in an individual capacity and other people control others because of life in society of them but if I go towards the accesses of the city, I realize that I do not control the sound landscape generated by his thousands of cars which run all at the same time. All express a control, taken individually, and socially but whose general information, the universality escapes to me completely…

The post-industrial scene will be also influenced by some more or less occult and more or less dangerous mythical characters: Aleister Crowley (kind of occult magus modern), Austin Osman Spare (kind of chamane), the serial killer Charles Manson.

Genesis P-Orridge was constrained to leave England for the United States, shown satanism and of attempt at handling through its Temple off Psychic Youth. One of the groups derived from Psychic TV, Coil will be also shown of Satanisme. Genesis P-Orridge ended up turning to a sensitivity more Alchimique and less occults. With his wife they are regarded as an entity Hermaphrodite and try to go beyond the sexués kinds. Current 93, very influenced by work of Aleister Crowley in its first albums, will leave this way rather quickly. What to say this influence? It is all the problem seen in the preceding paragraph concerning the art of the transgression and that evoked above. This bad influence at least was useful has to make the share of the things. In short to want too much to show and dismount the system of control certain groups or artists let themselves control by thoughts not always very avowable.

The relations with the occultists mediums maintained by certain artists post-industrialists however had a concrete contribution in tremes musical, insofar as they were interested in the ritualistic character of certain musics, like with their potentialities as a support of concentration in an occult practice. A certain number of groups, of which most known is undoubtedly Coil, assert an authentic magic dimension in their music (often of the practices of). Others, such as Ah Cama-Sotz, are interested a priori only in musical dimension. However if the industrial music pragmatically is explored, one can only note, that musical dimension is only the consequence of the magic step. Artists who are interested only in musical dimension, do not make industrial music.

Three founders groups: Throbbing Gristle, Voltaire Cabaret & SPK

Incontestably these three groups will mark the history, very short, of the industrial music and its label éponyme Industrial Records:

Throbbing Gristle : Group English formed in 1976, media arm of the group of performers COUM Transmissions, founder of the mythical label Industrial Records in order to distribute their recordings, Throbbing Gristle is characterized by particularly extreme performances as well on the musical level (use of infra-low) as visual (projection of insupportable images, pornography, uniforms Nazis) which make their fame. Throbbing Gristle bursts in 1981; thereafter, its former members found other seminal industrial projects such as Coil, Psychic TV or Chris & Cosey.

Cabaret Voltaire : Also of English origin, appeared in 1974 in a post-punk mobility, this group was interested in the diversion of sounds and speech, with work on magnetic bands, in a sound approach dadaïste of joining. Thereafter, the group evolved to an electronic music more dancing, less experimental and for much, less interesting. The solo projects of Stephen Malinder or Richard H. Kirk will join again and renew social and media criticism started starting from Cabaret Voltaire.

SPK : Project of Graeme Revell, founded in Australia in 1978, migrated to Europe thereafter, SPK is normally the acronym of Sozialistisches Patientenkollektiv (Collective Socialist of Patients). Its members, considering that the concept of disease recovered primarily an political opposition, practiced a group therapy by the social criticism, which led some of them later to join RAF. The very strong psychoanalytical influence of the group comes from Graeme Revell which worked in an asylum for mentally ills. But by derision, the direction chosen by SPK will be " Surgical Klinik" Penis;. SPK incorporates a music bruitist and forces, of the electronic sounds and rhythmic metal very diverting producing a saturation of information at the same time physical and psychic being identified with the chaos which a company saturated by information produces. SPK will be tested with an electronic music more dancing but the very provocative texts will prevent it from having success. Thereafter the group will mark a last major stage with the album Zamia Lehmani , true mystical and spiritual turning. Today Graeme Revell is a recognized type-setter of film musics.

A named compilation " The Industrial Records Story 1976-1981" , left on Illuminated Record in 1984 brings together the major artists of the label (Co-founded by Chris Carter, Cosey DC Newby, Peter Christopherson and Genesis P. Orridge): Throbbing Gristle, Assembles Cazazza, Leather Nun, Rental' Leer, Surgical Penis Klinik (SPK), Cabaret Voltaire, Elizabeth Welch, Clock DVA, Dorothy and William Burroughs. The slogan of the label " Industrial music for industrial people" will be suggested besides by Monte Cazazza.

Of other less known artists of this scene

Sordid Sentimental : It is neither a group nor an artist with properly spoken but a label of French music become mythical with the publication about groups of the industrial scene and the independent rock'n'roll. Their publications very neat, were accompanied by philosophical, poetic texts and of a packing, joining making of these publications a true conceptual work of art, object with whole share. The language is an illusion composed by its own words. The theories are fairy tales to satisfy our need for information. Which is the share of conscience and unconsciousness in our actions? How do we select and authorize our personality with being this and/or that according to our own needs and those for the company? Such are the questions, singular, which crossed the work of Jean-Pierre Turmel and Yves von Bontee. The label always exists.

Z'ev : Its work is articulated around a powerful and unequalled music trying to find a transversality between music, language and stamp in order to find the spiritual base made up by these two forms of expression. He collaborated in the industrial movement at the time of concerts emblematic and is regarded as one of the founders of this movement. Its influence was not less important since two of the greatest groups of the post-industrial scene took as a starting point its work: Einstürzende Neubauten and Test Dept (See the interview in the booklet accompanying a retrospective by its work “serious One foot in the”.) Today Z' EV carries on its artistic way and looks further into its research around the Hebraic tradition, the Kabbale.

Assembles Cazazza : Artist, performer extreme and cynical trimbalant with him a true bad reputation. The rumor wants that he is officially banished several countries. It is said that its work is in-presentable or that its extreme and violent performances were surrounded by a fine artistic layer in order not to fall into the sordid total. Interested by the phenomenon of criminality it less observed of them the methods of the CIA, not studied the way in which the criminals achieved thus intended their crimes to them.

The slogan “an industrial music for a mass of industrial people” comes from him. He collaborated often with Genesis P-Orridge and left some albums. Today it deals with film underground production company.

Mark Pauline : This artist is known to have created animal spectacles of street mixing dead mutants enchased in a sophisticated machinery, blood explosions, detonations of all kinds, automats massive including a clean personality and maniac, giant paintings. A kind of theater of cruelty left the hell where each machine, each robot was fought with dead and where justice does not exist because of assertion of this impersonal robotized capacity. It, thereafter, created the Survival Research Laboratories.

NOT : Not or Boyd Rice is certainly the most ambiguous character of the industrial and post-industrial scene. In its concerts it delivered one adding up and tétanisante not-music with walls of sounds noises which obliged the public spectator/to react: to subject themselves or not to subject themselves. During the post-industrial period, helping time, the artist is a little assagi with less violent musics though hard or softer with the words related to a nihilist philosophy. However its always not acknowledged inspirations very clearly, question of them more one and, there too, we are well obliged to give an opinion in its place since he does not say it clearly but strongly suggests it. Near to the ideology of Extreme right-hand side, to the Satanism?

Maurizio Bianchi /M. B. (in Italy): An experimental artist who draws his inspiration in the mental derangement of the individual depersonnalized by the technocratic system. Its most representative work: " Symphony for has genocide" , " Endometrio" and " Carcinosi" with time spent, and " Mind custom trial" , " Niddah emmhna" and " Neuro-munalp" at the present.

An end?

If the beginning is about identifiable the reasons which pushed has to finish the movement are it less. Genesis P-Orridge proposes the fact that many artists imitated them and that it was time to put a term at this imitation and to pass to another thing. Only Cabaret Voltaire, Not, Psychic TV (ex- Throbbing Gristle), SPK, Z' EV survived the movement as such but all took new directions or there were rehandlings in the groups.

It should be said that the majority of these groups worked on the topic of violence. A believed, brutal violence even unhealthy in certain cases. Was it thus possible to continue under this angle for a long time without the artists undergoing themselves of them the physical consequences, psychic and social?

Nevertheless what gathered these groups and these artists is a kind of identification, of work on close ideas evolving/moving around the same concept: to denounce the violence and the brutality of our company on several levels: violence on the body (physical, psychic), on the company (social body) on the individual acceptable limits (deviances, criminality) and social (media deviance, capacity with adding up tendency). The question which remains open is thus that of the ground of the influence of this violence in the real-world. Ground what will invest the post-industrial scene.

Beginning of the year 80 and the post-industrial scene

The project of the industrial music east dissolves as of the beginning of the year 1980. A myriad of groups will be claimed directly or indirectly court, violent one and rich industrial movement, or will be catalogued in this kind, for want of anything better, by their nonconventional use of the instruments and the music. A whole generation will be identified with this set of themes, in this alternate world and underground. Laibach, Einstürzende Neubauten, Test Dept, Children's nurse With Wound, Hafler Trio, Nocturnal Emissions, Coil, Vivenza, Being given, Die Form, Zoviet France, Pacific 231, P16 D4, Asmus Tietchens, Lustmord, Cranioclast, Esplendor Geométrico, Merzbow, Art&Technique, the Trade union, Muslimgauze, Current 93, Drums of Bronx. will be as many groups which will give a color quite particular to the post-industrial scene with generally of unequalled works for the whole of these groups.

There exists so much of groups and sub-groups sometimes created only for specific projects which it is impossible to give an account exactly of the whole of the movement. Nevertheless here some descriptions of three of the most important groups. To note the existence of the reference book on the post-industrial scene Slap Delay.

The major groups are German Einstürzende Neubauten, Test Dept, the Sloveniens Laibach.

Political drifts in the industrial scene

From its extreme side, its research on the manner of communicating in a way different from the ideas by using popular media and from mass, by calling upon the theory of the control (all to control manufacture with the diffusion but also to show how a being, a population could be controlled) the industrial scene is bathed by a theory Paranoïaque which allowed bunches really extremists and sometimes dangerous to transmit their ideas while being based on the bases suggested by the industrial scene.

The article of Brian Duguid “the unacceptable face of freedom” (Fascism in the industrial music) gives a rather faithful image of what there was in the industrial scene once the door of the paranoiac theory was inserted. However and all things considered it should be known that these problems relate to only very secondary groups, not very innovating and who do nothing but benefit from this fault of the industrial scene, always not assumed very well, to transmit their extreme message which does not have anything any more to see with the bases first.

This movement opened a Pandora's box by the use and the handling of symbols ideological, political, religious, sexual and criminal. It is certainly what cost him expensive in term of image near the public; by the means of this criticism, altogether successful, groups or people really claiming extreme ideologies engulfed themselves in this way. It is also the most sordid side of the industrial movement. It is not rare to see, today still, of the identity groups to claim industrial music or groups with the practices extremists more than doubtful.

What had like consequence to consolidate the already bad reputation of this movement, and this generally by poor journaleux ignoramuses and vulgar copyists of the whole and anything:

Those, those which knew the major reasons of them are withdrawn gradually from a broader diffusion towards the public to limit itself at a very restricted community of diffusion.

Of other groups was brought to re-examine their provocative policies obliging to clarify their position

Of others continues to play the bold ones with the risk to lose any credibility.

Then one saw returning this scientist mixes between Occultisme and fetishism of the extremes exploiting this set of themes of the handling of the symbols and the techniques of control. With the public to determine the reception of the message and the way in which he interprets it, explains his degree of implication in such or such ideology. Of course it is not a question any more of denouncing but of creating a disorder, a blur so that the unacceptable one becomes potentially acceptable.

Consequently this scene was success only as from the moment when it gave up what nourished it. Generally the movement techno gave up some of the most sulfurous theories to retain only the reigning spirit of freedom (left free and others technivals). In short success treats to by the abandonment of the demonstrations more dérangeantes. The only remaining angle of attack, for the media, was to attack the influence of drug when these free evenings became too prégnantes or popular…

Kinds and sub-genera (the musical widening of the Industrial scene)

The term even of industrial music poses today a true problem of terminology, so much the field of experimentation widened, making to côtoyer keen experimenters not yielding of anything to the facility, as well as artists much more accessible, constituting a branch almost mainstream of this movement. Despite everything, one can recognize a relationship between these various branches, that it is by the recourse to a strong symbolic system, an assumed politization of the message, the recourse to the bruitism, the research of the extreme, the development of the rate/rhythm, or a constant use of electronics.

Electronic Body Music : This dancing music and minimalist inaugurated by Front 242 at the beginning of the Années 1980 constitutes a missing link between the pioneers of the industrialist and the beginnings of the Techno. Thereafter, the sound of the EBM evolves to approach according to the groups to the techno minimalist and IDM, to approach to the Electro-undue money and the Gothic Musique with the Darkwave, or to tend to the New wave.

Electro-undue money: During Years 1980, its industrialist structure and softens to give rise to this current, a music more dancing which does not mortgage therefore its ideals and can preserve a radical step. Face Line Assembly and Skinny Puppy is the groups emblematic.

Noise, power electronics and japanoise : These currents are interested in the noise as such, seeking to catch on the wrong foot the esthetic design common to the pleasant music like to the ear . Highly experimental, of the projects of avant-garde like NOT, Whitehouse or Merzbow had an influence exceeding the limits of this kind.

Dark ambient : This close relative of the undue money as of the first time and the noise is a music close to the Ambient of share his absence of rate/rhythm, his recourse to tablecloths, sounds of ambience of natural origin. The stress is laid on blackness, the anguish, the feeling of faintness to make a very heavy music of it. Lustmord, Sophia and Raison d'être is groups of foreground of this scene.

Néofolk : This kind is resulting from the will of a handle of artists such as Current 93, Sol Invictus or Death in June, resulting from the post-industrial scene, to create a news European music folk. Very influenced on the plan of the sound by the Anglo-Saxon movement folk, this current is interested in the culture and the history of the Europe, mixing with the topics as well paganists as romantic or occult.

industrial Death: This close relative kind so much of the power electronics than of the Death metal is characterized by a heavy music, near to the bruitism, with apocalyptic environments and the sets of themes similar to those of the Death metal: Grey Wolves, Brighter Death Now, Megaptera are major groups of the kind.

industrial Metal and industrial rock'n'roll : Appeared within the framework of the first attempts bruitists of the scene No wave, the industrial rock'n'roll of the Swans or Fœtus applies an industrial step and bruitist to a sensitivity close to the Punk. This approach is seen declined under the angle of the heavy metal by Ministry, Godflesh, KMFDM, Nine Inch Nails or Genitorturers with its theatratality SM to obtain a particularly percussion Rock.

Power noise, techno-undue money or rhythmic noise : These names indicate a hybridization bruitist of the Techno hardcore appeared during the Années 1990. It is a purely rhythmic of the industrialist, sometimes very dancing, always powerful alternative, represented by groups such as Noisex, Synapscape, Imminent Starvation or Winterkälte.

The French scene

See: Industrial Music (French scene)

External bonds

Webzines

Industrial.org, a reference
Brainful Commits suicide, industrial musical community
Industrial Nation, webzine American of first importance
LaGouttière, Webzine French very directed undue
Verdammnis, Webzine French very directed undue/electro dark
The Factory, Webzine French industrialist

Others

Black Notebooks, analyzes and history of the musics Gothic, new-wave and industrial (in French)

Documents

Deutsch Nepal, video live, April 2004
Grunt, video live, November 2002
Whitehouse, video live, June 2006
PF vs ICK, video live, 2005
Grey Wolves, video live, Paris 2005
Last will, video live, Paris 2004

Historians of the movement and his current recognition

Emmanuel Grynszpan wrote an excellent and very documented history of this movement: industrial Music: faintness in the culture . It takes up the ideas founders of the movement and with the other musical styles avant-garde with this prospect for “faintness in our culture compares them”. One will also read, with profit, the Prehistory of the industrial music of Brian Duguid (in English) which replaces the industrial scene compared to the history of the artistic movements. (The two texts are rather close).

Except a multitude of Fanzine S more or less obscure with very limited pullings there exists nothing tangible which attests industrial scene. This scene would have passed probably unperceived if there had not been the work of untiring land-surveyors of the newspaper then magazine RE/SEARCH , magazine which was always interested in the cultures underground, underground. One must with Andrea Juno and Vale to have collected, before the movement does not disappear completely with the profit from the post-industrial scene, testimonys and interviews of the main characters and organizers of what was going to become a movement.

As for this article, after a presentation of the theories which direct this movement it will try to release, to trim the broad topics resulting from the post-industrial scene bus, beyond, a simple musical movement, the post-industrial scene seized these media to renew the idea of industrial crop insufflated by its predecessors.

On this subject Emmanuel Grynszpan poses the problem very well while recalling, at the end of its study, which there does not exist any serious public policy of conservation of works related to this movement whose importance is not any more to show and constitutes “ the driving missing link with the current electronic musics (Ambient, Electronica, Trip hop, Techno, etc) ” (E. Grynszpan).

All the more interesting link as it refers neither to the erudite music (that of IRCAM for example) nor with the popular Musique (the folklore) but identifies with the popular tradition of mass (reference to the media of mass thus to the mass culture).

Articles and resources on line

industrial, Malayan Music in the culture, of Emmanuel Grynzspan
industrial music and its heritage of Emmanuel Grynzspan
Repertory of the groups of music industrial and derived from Emmanuel Grynzspan

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