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Zusatztext 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. 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 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. 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. Electric Review Zusammenfassung 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. 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. ": ENGLAND 1981-1985 ; 1. THE MISSION IS TERMINATED ; 2. LONDON ; 3. BEYOND LONDON ; X. BODY TO BODY: BELGIAN EBM 1981-1985 ; 1. A SATELLITE STATE ; 2. LUC VAN ACKER ; 3. FRONT ; 4. MUSICAL ORDER ; 5. BODILY ORDER ; XI. INDUSTRIAL MUSIC AS A THEATRE OF CRUELTY ; 1. ARTAUD-DAMAGED ; 2. THEATRICALITIES OF ALL KINDS ; XII. "SHE'S A SLEEPING BEAST": SKINNY PUPPY AND THE FEMININE GOTHIC ; 1. FROM POP TO PUPPY ; 2. VANCOUVER'S FERTILE GROUND ; 3. DISRUPTING MALENESS ; 4. THE FEMININE GOTHIC ; PART 4: PEOPLE AND INDUSTRIAL MUSIC ; XIII. WILD PLANET: WAXTRAX! RECORDS AND GLOBAL DANCE SCENES ; 1. INDUSTRIAL MUSIC AND THE MAINSTREAM ; 2. THE BEGINNINGS OF WAXTRAX! ; 3. MINISTRY ; 4. MIXING AND MERGING ; 5. THE BUSINESS OF CHAOS ; 6. CLUBBING AND PARTICIPATORY CULTURE ; 7. NEW BEAT ; 8. TH...
