This topic was originally started at www.noisefanatics.com. Topic died little by little after first wave of enthusiasm. Maybe things get added here. Material of list is made based on suggestions of several people, not only myself. Nobody is given credit.
For PE, listing could be still doable. Noise, experimental music of all types and such genres become so wide and massive, it's very hard to make any sense on it. In case of PE, it is even possible to collect if not all, then at least major amount of releases to form quite accurate picture of what has happened in past.
Revised introduction for
:CANON OF POWER ELECTRONICS:
There was one other forum of other music, where people would be building list of bands & their albums, to create kind of canon of the music style. Not to be taken as biblical truth, but more like: In relation to literature, this term is half-seriously applied to those works generally accepted as the great ones. List in chronological order, as simple guide of the biggest influential milestones of the genre.
Not to be taking too seriously. More as fun to see the development & route of where genre started and were it has gone.
Any suggestion welcomed and list will be updated. No credits given to who suggested (so don't think I'm here promoting my own stuff is someone just happened to see it look suitable for list).
Please, no suggestions based on who is your friend and who is cool & great dude.
What kind of releases should be included?
1) Preferably on their relevance influencing whole genre and importance in some sort of landmarks.
2) Releases with high status based merely on success, and therefore their obvious influence in getting into ears of big number of people.
3) Releases with exceptionally good/original/unusual contribution, to musical or cultural climate of power electronics, even if they may not be at their time or at the moment high "commericial" success.
4) Releases with high local relevance. Local not meaning "you and your buddies", but for example domestic scene of your country.
Purpose of the list?
To observe & investigate the development of the genre, it's highlights, exceptional releases. Basically landmarks of genre from 1979 to 2008. To observe something like this, can't be merely list of top-3 or evern top-10 PE releases and biggest bands. Every release doesn't have to be equivalent of RIGHT TO KILL in musical style, legendary status or such. There is needed to be releases that show where genre went after the first and biggest impacts. And also releases, what are not necessarily milestones of genre as whole, but some fraction of it.
Every good release isn't needed to be listed. Otherwise it'll be just endless huge catalog. Releases what are clearly and without doubt a RESULT of something else, are not necessarily exception or even landmark -status worthy releases. In any musical genre, you will see the leaders and followers. Monuments and minor footsteps. If we are talking about "canon", it should be the greats of the genre, with the slightly loose grip (see the numbered basic guidelines above).
When making suggestions, some explanation why, IS required. Not all releases of every good band must be listed. Like in case of Con-Dom. Surely there follows amazing releases besides the first studio tape and first full length LP, but I'll see later what all of them should be added. Grey Wolves surely did impact already with 1st LP, raising politically motivated PE to quite brutal heights. But musically their few years later LP could be seen making bigger impact, perhaps?
How to measure what releases are influential is matter of discussion what follows here. Suggestions and debate is welcomed. Whole list is subject to change, if good enough "proof" is give.
THE CANON OF POWER ELECTRONICS (under process)
contributions from various people (nobody credited here)
1979:
*SPK "Factory" 7", industrial classic, what remains startinpoint & major influence for many bands, from Slogun to Sutcliffe Jugend and needless to say directly or indirectly to almost any band of genre out there.
1980
*Whitehouse "Birthdeath experience" LP, debute album of without doubt the most influential power electronics band.
1981
*MB "Symphony For A Genocide" LP. Originally LP on Sterile, to be re-issued numerous times on various labels on all formats. That alone should show its importance.
1982
*SPK "Leichenschrei" LP, industrial classic, what remains startinpoint & major influence for many bands, from Slogun to Sutcliffe Jugend and needless to say directly or indirectly to almost any band of genre out there.
*Whitehouse "psychopathia sexualis" LP, not any remarkable in bands career or highlights of year, but for coining the whole term power electronics.
*Sutcliffe Jugend "we spit on their graves" 10xMC box, release what is not only nearly unbeatably extreme in sound, but also massive in magnitude that even in form of chopped up sampler CD, remains classic of the genre.
*V/A "Neuengamme" LP, without doubt compilations are/can be important part of scene. This particular being one of the most legendary with insane line-up and being the first PE vinyl comps out there.
*NON "physical evidence" LP, one of the harshest NON recordings, compilation of tape noise live actions. Mono recording with utmost physical atmosphere.
*V/A "Für Ilse Koch" LP, together with Neuengamme, most legendary PE compilations. Whitehouse, Consumer Electronics, Leibstandarte SS MB, etc. And not only musical foundations, but culturally significant underlining the common themes, matters of interest and iconography to be widely characterize Power Electronics.
*LXSS "Twist And Decease" tape, next of the Italian PE projects after MB. Band merely published couple tapes and LP, also published on Broken Flag compilations.
1983
*Whitehouse "right to kill" LP, album that is legendary due its difficult availability and legendary status, and being one of the most distribing and violent PE recordings.
*Ramleh "return to slavery" LP, actually a split LP, but one of early masterpieces.
*Ramleh "The Hand of Glory" 7", reverb drenched simple yet disturbing p.e. Showed that you didn't have to yell and scream to be creepy as fuck, later re-issued as 12" with heavier sound.
*V/A "white power" tape, Iphar label classic. Consumer Electronics, Ramleh, Kraang, Club Moral, MB, Sutcliffe Jugend. With line-up of the utmost classic bands and the more obscure projects giving some of their best contributions, release and its crude presentation is essential when considering pure PE of the era.
*RJF "Greater Success In Apprehension & Convictions" LP, the first swedish postmortem release, with huge impact on national level, and hints of shock waves around the world. CD re-issue in 2008 made it known to whole new generations.
1984
John Duncan "riot" LP, masterworks of shortwave radio, military signals etc. Pioneering industrial artists/performance artists, who crossed borders of accepted to create something very unique.
1985
*Controlled Bleeding "Knees And Bones" LP, one of the utmost classics. And the material of session has been recycled extensively, and with success, like "Plegm Bag Spattered" cd 5 years later, which could be even stronger?
*Blackhouse "hope" LP, debute LP of american band who in response of Whitehouse's extreme violence and sex delivers christian religious message through the rhythmic industrial, which has more in common with some early days Esplendor Geometrico etc than some disco/powernoise/EBM stuff.
*Whitehouse "great white death" LP, seems like this release really changed the vocal/lyrical style in a monumental way. Pre-GWD, most PE tracks had vocals processed to incomprehensibility, lyrics only able to be deciphered through by reading them in some fanzine. Also, just the cadence, the slightly more declamatory gestures, and especially, the largely unprocessed vocals, allowing CLEAR and PRECISE ENUNCIATION of every word, seems like a pretty defining moment in the history.
*Ramleh - "Awake!" 6x tape box set, collection of rare/live/different versions, another showcase of exaggerated magnitude of early power electronics.
*Mauthausen Orchestra "Anal Perversions" tape, one of the many MO tapes, creating the legendary status of italian filthy PE. Later bootlegged as LP.
*Le Syndicat "corrumpate" tape, later re-issued on CD. Extensively distributed among tape scene of the time.
1986
*Le Syndicat "rectitude" tape, later re-issued on CD. Extensively distributed among tape scene of the time.
*GRIM "folk music" LP, release of one of the obscure projects with White hospital and Vasilisk connections. These days high priced collectors item has been made available as CD on western label.
1987
*Con-Dom "Have faith" tape, early studio tape on Broken Flag.
*NON "Blood & flame" LP, his full of tape-noise screech, in simplicity and energy fitting what we call power electronics.
*Boy Dirt Car "winter" LP, full length vinyl LP of American band who operated from industrial rock to extreme crude sounds.
*Eric Lunde "Expositions of the Virus " tape, BDC mastermind with his solo work.
*ULTRA "Youthful Pleasures" LP, perverse american band, which musically often do not fit under strict definition of power electronics, but their approach walks hand in hand in many levels.
1988
*The Sodality "Orgies Of Crime " 12", following their year earlier full length, great example of dramatic and composed power electronics, also forging the image of italian PE's violence & sexual sadism.
1989
*Genocide Organ "Leichenlinie" LP, debut LP of German band which quickly rised among one of the legends of genre. Also one of responsible of the more old school industrial wibes back in the sound. Tightly connected with Tesco Organization, their slogans like "back to basics", were response against academic & artsy abstract noise, back into themes and sound of earliest industrial music and power electronics what would flourish in germany in upcoming decade.
1990
*Brighter Death Now "great death" LP, debut LP from project which alone forged image of what many call death industrial.
*Mauthausen Orchestra "5 years of Slaughter" LP, best of the early tapes. Don't know how many copies of early tapes were originally sent out, but possibly this leading bands extreme works to hundreds of new listeners.
1991
*Con-Dom "eight pillar" LP, first full length LP by Con-Dom. Already back in 1991, sounding more modern & experimental and groundbreaking than many bands after it. Band that is highly praised and worshipped, but never managed to be copied!
1992
*Final Solution - do as you're told 7" (USA PE. In liner notes Mark Solotroff explains its influence to Intrinsic Action synth driven material. Despite often blamed to be nothing but WH clone, one can see it's relevance in influencing generation of USA PE, directly or indirectly)
*Intrinsic Action "Sado-Electronics" CD, after demo tapes and 7"s, major release on Tesco Organization Germany.
1993
*Anenzephalia "Fragments Of Demise" LP, debute album of German project on RRR. Still showing early stages of projects sound, but in its raw industrial-pe fusion sound, definitely one important project underlining power shift of attention to many German projects.
1994
*Sutcliffe Jugend "s/t" CD, material dates back to early 80's, but this is one of the very few official releases at this point of the rare materials on cd format and it came in 1994. Bands works of that era remains in very top of violent power electronics. In themes, lyrics, sounds, in every way presenting level what very few have reached since.
*Streicher "Legion St. George" tape. Later to be re-issued as LP. Band never succeeded in "commercial" way. Operating in times when publicity and distribution was still very hard and limited. Distributed by many of the major noise distributors of the time (RRR, Artware etc). However, the style and atmosphere of Streicher and its home label Zero Cabal took the original 80's power electronics and twisted in into another extremes. Its influence can be still heard today, even in form of tribute tapes. Streicher possibly also one of the early project presenting skinhead culture in their art and lyrics.
1995
*Taint "indecent liberties" LP, debut vinyl of project showing new levels of violence
*Genocide Organ "mind control" LP
*Macronympha "Pittsburgh, Pennsylvania" LP, one could always argue what is noise and what is power electronics, but when you have some of the strongest noise packaged in huge poster of hanged man by KKK, released by German power electronics label, it's qualified. Debut full length vinyl LP of band, without doubt a landmark in their own discography as well as harsh noise.
1996
*Grey Wolves "Catholic Priests Fuck Children" LP
*Law - Pariahs Among Outcasts LP, one of proofs of bands being able to innovative and different, yet still fall into PE category. Supreme artwork and some of the most tasteful texts included with the booklet.
*Operation Cleansweep "power hungry" LP, another landmark of german power electronics.
*Con-Dom - sermon series. At least one out in previous year, but most are in 1996. As a limited edition set of 25 copies is a proof of nearly divine insanity, and musically some of the most original, personal and different power electronics.
*MURDER CORPORATION "New Crimes" CD, in middle of bands career, first CD release after 3 years of small edition tapes, made band more known. The obsession of italia lo-fi death lust remains for the limited fanbase due sheer difficulty & unpleasant production values, but one of the bands who kept this approach alive while many others aimed for clearer and heavier production.
1997
*Genocide Organ "remember" 2xLP, possible the strongest landmark of Genocide Organ, and one of the most important records to build their international reputation they have. Most violent and aggressive of their releases, collected from various live shows. Including endless stream of now classic tracks which are like anthems of german power electronics!
*Thorofon "Maximum Punishment Solutions" LP, despite band took quick turn to another direction, their debut LP made strong impact in the scene at the time, making the whole era dominated by German power electronics.
*Death Squad "theological genocide" CD, 1000 copies cd and extensive touring around the world during this and previous/following years made more impact than project gets credit for. Many of the earlier tapes were too limited to create bigger scale attention, but are worshipped trophies of industrial/pe fanatics. Band with huge charisma and content what (if world would be fair would-) put it up there with the legends of industrial music.
*V/A "War Against Society" 3xLP. There might have been compilations before and after. There has been attempts to create some to-be-classic special collector trophy box-sets, but very few, if any, match to the ultimate superiority of War Against Society. Militia, Con-Dom, Grey Wolves, Law, Streicher, Victim Kennel. One side each. And everybody, at their best! Anyone without this, couldn't say their record collection would be "complete". So try to be one of the 750. It still goes to ridiculously small amounts of money!
1998
*Haus Arafna "Children Of God" CD, 2nd album of Haus Arafna where they basically reached the logical development from their previous 7"s and LP. Analogue synthesizers, vintage drum machines, structured songs between PE and industrial.
*PROIEKT HAT "Lebensunwertes Leben" LP, obscure project on Cold Meat industry, one of leading higher profile names in the 90's tape obsessed power electronics realms.
1999
2000
*Strom.ec "Dogs Of Total Order" LP (in times when Finnish pe vinyl were kind of rarity, it delivered the goods. Bringing international attention to Strom.ec and the whole Finnish scene in general)
*SLOGUN "Kill To Forget" CD, out of many excellent albums, this would clearly be one of the utmost highlights in history of Slogun. Release to define what many people understand as american power electronics.
*IRM "Oedipus Dethroned" CD, band that caused stir already from first demo tape. To expand the sonic and artistic approach of power electronics into personal directions. After this 2nd full length, band had launched excellent additions to discography without any failures.
*V/A "DEGENERATING FINLAND" CD. Before this compilation, Finnish scene was barely exposed to rest of the world. Presenting the leading line-up of late 90's, compilation opened many doors for following releases of many of the projects. Small 300 copies pressing might have more national importance.
2001
*CON-DOM "Colour Of A Man's Skin" 2xLP + 2x7", S/Sided, studio releases of Con-Dom are always exceptional. This release is long worked out project, where some of the tracks originate from very early days, and early versions may be heard on some of his live assaults. But another great example, how landmark releases are made. 100% unique in sound, presentation, magnitute of efforts in concept, packaging, time and money.
2002
*Nicole 12 & Taint "Candyman" CD, unapologetic examination of the flesh market and pedophilia. Attacks the subject matter from different perspectives and opened up the subject for other artists. Originally extremely rare CDR releases with very explicit artwork.
*Prurient "The History Of Aids" CD. One of bands milestone releases, without doubt being major influence for a lot of new artists. Often matter of debate whether project or its followers are what people call power electronics, but vocals, noise, electronics, sexual disease, mental depression, all the elements are there.
*NAVICON TORTURE TECHNOLOGIES "The Church of Dead Girls" 2xCD, high profile release, where direction, ideas and style of earlier releases was pushed to logical continuum, but presented on high profile label with unusual packaging. Modern american power electronics.
2003
*Deathpile "G.R." CD, the end of long career of US PE band, shows them stopping at the top level of US violent crime electronics.
*Whitehouse "bird seed" CD, out of all the "new era" of whitehouse, this album, with supreme stand-out track Wriggle Like A Ficking Eel, showed that band was still able to go for new heights. In lyrics, in innovative music as well as while losing maybe some of the "PE purists" appreciation, gaining unsees popularity.
*Atrax Morgue "Death - Orgasm Connector" CD, it could be said that from different styles and eras of AM, this is purely a personal choise of myself. AM was always AM, but this album is a example of insanity of such level, that there just isn't anyone doing ever remotely close. One could always throw some WH New Britain references, but the fact is that razor sharp execution of PE right there in border of insane vs. ridiculous manages to go into direction nobody else has.
2004
*TAINT "Misogynist Lust" CD. One of the modern day bands who was able to capture violence and sexual overtones of early PE, with credibility and authenticity. Also existing as tape and LP format.
2005
*INSTITUT "The Struggle Never Ended" CD, 3rd album of swedish band, showing them at their best.
*BLOOD OV THEE CHRIST "mastercontrol" CD, band that back in 80's remained in knowledge of very few, often Swedish collectors. Re-issue of ultra limited tape not only made wide amount of people aware of the project, but also boosted project to resurrect into live actions and new releases on Swedish and foreign labels.
2006
*RASTHOF DACHAU "prison poems" LP/CD, long time active Austrian band, perhaps culminating their style, very representative for big part of Austrian/Steinklang team, mixing euro PE with industrial beats and controversial IRA poetry.
*GRUNT "seer of decay" 2xCD. Depending on how you look at it, this is possibly the first "real" full length CD of Grunt, already been active almost 15 years before its release and countless releases in the discography. Also culmination of two styles, the more complex composed PE as well as obsessive use of metal junk.
2007
*BIZARRE UPROAR "Unsafe And Insane" LP, the long operating finnish band, after c. 15 years with this Japanese debut full length LP seems finally rised into wider public knowledge. Their recent years extensive release schedule is impressive and high wanted among die hard filth & violence fanatics, but as obvious, vinyl LP often is the culmination of work.
2008
*STROM.ec "Divine Legions Beyond Psyche CD", still pushing the boundaries of PE into new realms. Further incorporating bizarre concepts and sounds and making stylistic changes that one may not have thought acceptable.
*HALFLINGS "Cough It Up" CDR, Defining the American power electronics scene as going in a different direction then where pe from other parts of the world seem to be going. More of a punk feel but still quite esoteric and original, reaching new levels of aggression and raw power. New wave of american PE often under debate whether it even qualifies as PE, but the new breed like this, might be the ones known from the PE of next decade. Perhaps far from its roots(?), but expressing the cultural climate of the time.
*STRICT "kiss" 12", legendary projects which is often topic of discussion and praise, but hardly managed to make wide spread solo release. Years later of its recordings, this 12" still remains as stand-out due sheer volume of violence and sadism.
to be continued...
Suggestions:
2000
Grunt - Terror & Degeneration - this was repressed again 2 years ago. Perhaps one of more widely available and in demand Grunt releases? I still maintain this is one of the best, if not the best PE albums ever.
2006
Control - World of Lies - I know this was mentioned several times back on the troniks board.
2009
Sick Seed - The Great Corrupter - It hasn't been quite 2 years but I would say this album definitely made a stir. Each track has a unique approach and the Snow Fell cover is pure genius.
Halflings - Self Esteem - First full LP by the group. I'd say leaders of the new NY/Far Rockaway scene at this point? Perhaps the Yellow Tears - Pissmop LP as an alternate.
Could be. Note the earlier, that I'm slightly hesitating to including my own works, unless there's more frequently mentions. I know what their value is to me, and little guess what value is to some of the people in contact with me, but not want to give impression that all stuff related to "me & friends" will get listed as soon as someone drops name ;)
Even if Terror & Degeneration has been done as 2 different CDR versions (I think? Jewelboxed and non jewelboxed), tape with bonus tracks (was it even 200+ copies pro.tape), and two LP's and finally real CD.... Still, for example "Petturien Rooli", has sold more in total number and perhaps gotten slightly more attention? Being as recent as 2009, it's hard to see if there was any impact made, though. T&D was very closely connected to whole uprise of Finnish PE of the late 90's.
It would be nice to see more input to this.
One would guess, that now, years later, we could quite objectively check out up till 2007? Been years to digest and compare things.
My suggestion would be:
-IRM Indications Of Nigredo (12", Ltd) 2008 - big edition of 500 copies. Band topped themselves to such a high levels it might be hard to go upwards?! And proved to be unique in their approach. Most certainly a stand out release of band, and also 2008! I don't remember reading anything else than praise?
When 1999 is blank, I'm tempted to insert Genocide Organ The Truth Will Make You Free! Even if mentioned that not ALL albums of bands should be listed, but damn, this is such a great album, and if there's nothing in 1999, I would allow it to be this.
I would also add Propergol - probably Cleanshaven out of many great works. His work is unique, the way he treats sound differs from anybody else.
Regarding GRUNT I think it definitely defined canons in PE in different occasion, considering that although you developed your own sound, your cds all differ from each other.
Just out of interest - why SPK's Factory as opposed to Information Overload Unit and Leichenschrei? I would have thought those albums have had a much wider impact on Industrial and Power Electronics. I would certainly rate them as landmarks and genre defining.
EDIT 27/03/'16 - nice to see Leichenschrei added at least.
Quote from: FreakAnimalFinland on April 01, 2011, 09:08:35 AM
When 1999 is blank, I'm tempted to insert Genocide Organ The Truth Will Make You Free! Even if mentioned that not ALL albums of bands should be listed, but damn, this is such a great album, and if there's nothing in 1999, I would allow it to be this.
I could mention Sutcliffe Jügend - The Victim As Beauty as a canon work which should be listed in 1999. Alongside "When Pornography Is No Longer Enough" (which should be mentioned in 1998) this is the best in their discography, in my opinion.
This topic is also relevant to my earlier query and should be resurrected to see if there is any further interest in contributing.
I'm doing a bit better here than on the Canon of Noise Albums thread, but still have a long way to go.
In the very contemporary realm, I'd give a nod to Koufar's "The Death Of Myself" (2010) on New Forces. Short little tape but it's passion has warranted so many damn replays.
And I will always praise Burial Hex, or at least 95% of the time. For more PE and less industrial works, "Gripster Killer" (2007) and his "Actaeon" (2011) side of the Iron Fist Of The Sun split (whose "Behavioural Decline" (2009) also deserves mention?) get my vote. "The Coming Of War" is just one of my favorite tracks ever.
But none of these probably are in any canon but mine haha. Maybe the IFOTS disc for some... Fuck it, whatever.
I guess I may have said it before, but perhaps making canonizing relatively new releases is quite hard. Also quite annoying. Thinking that who'd suggest releases that are too close. You know, labels suggesting their own stuff, people suggesting stuff of their friends etc. But in small scene like this, one often knows many of the currently active players.
I could easily mention some of my personal picks, but some of projects seems "too close" for me to suggest..
SNUFF debut LP
KEVLAR debut LP
HUMAN LARVAE LP
Gaze Campaign "Gestalt Bruise" tape
Zyklon SS "Anti-Personnel Explosive Device" tape
Alfarmania "From Fix To Fix" CD/tape
Puce Mary 2nd LP
and so on.... Why these? Of course could describe further, but I'd rather hear suggestions from others than fill list with all the guys I know, and may be strongly biased..
There shouldn't be any haste to add to it anyway. Why should there be? It's going to take a few years for any release to peculate through the movement and then be genuinely appreciated by people afterwards. No need for speed.
Personally, I hope Am Not's "Unpunished" makes the canon, for example, but if it doesn't, so what? I'll still love it for what it is. And if it does, that's a bonus.
Its rather difficult to talk about the staying power of modern (see "2008 onwards") Industrial/noise because we haven't seen whether they will stand the test of time. Looking back to just last year there were some stellar releases by Grunt, Koufar,etc. but it would be difficult to label them as classics because we don't know how or if they will influence noise in 10-20 years.
Despite this I'd argue that Xenophobic Ejaculation's s/t for bringing a certain primitivism and aggression that hadn't been seen for a while. Also a good example of what has become know as the "Filth & Violence sound" (One of the Nyrkki & Kyrpä comps is another good example).
There are other releases that are influential to myself but I can't speak to whether they are to other people.
as reminder:
What kind of releases should be included?
1) Preferably on their relevance influencing whole genre and importance in some sort of landmarks.
2) Releases with high status based merely on success, and therefore their obvious influence in getting into ears of big number of people.
3) Releases with exceptionally good/original/unusual contribution, to musical or cultural climate of power electronics, even if they may not be at their time or at the moment high "commericial" success.
4) Releases with high local relevance. Local not meaning "you and your buddies", but for example domestic scene of your country.
So it's not necessary - or possible - to put new release next to "right to kill", but it should be judged based on current situation. Bringing new. Being simply good. Being influential, locally or even globally. Sometimes sheer number may be indication. Lets say if Puce Mary "Great Panic" tape has been sent out more than 600 copies, it is likely to be quite different level impact on things than some decent tape issued 50 copies. Being bigger seller than most of PM albums.
Depends on how many of the 600 people who actually listen and give a genuine shit as in "this is a revelation, I must delve deeper into this genre" opposed to the 50 scumbags exercising true worship of the loser scumbag project behind the edition of 50 copies that the rest of the world will never know or care about.
In my opinion reaching too far outside the genre does not warrant an elevated spot. Quite often the contrary due to contents being watered down plus bringing an influx of assholes with no stomach for true harshness and no staying power.
Well, that particular release is sold by noise-pe distributors pretty much exclusively. My assumption is that it sells primarily to noise/pe crowd.
It's hard to argue project not having "impact", if it is sought after, liked and wanted everwhere. Even if impact would be different than one would desire. (see category #2)
And as said in category #3, list would qualify worshipped tape in edition of 20 if it just had some impact somewhere in some way. Good start is that someone somewhere has concluded it is among best releases of year. If nobody ever said that, then release probably isn't to be canonized.
Quote from: FreakAnimalFinland on March 26, 2016, 04:13:31 PM
My assumption is that it sells primarily to noise/pe crowd.
My assumption is that it hasn't. Not that I care enough to get into an argument over it.
If you are including industrial, which the appearance of certain titles suggest you are, I recommend adding SPK's Leichenschrei to the list.
We could ask same thing of any any popular releases, for example: Whitehouse. SPK. NON. back then, or right now. Their value isn't decreasing whether some people "outside" the die hard PE collectors are also is exposed.
I'm quite sure that new PM album, now being distributed by Cargo, will reach most of all difference audience compared to for example tapes sold by Freak Animal.
SPK LP has been added to list, as it clearly should be.
Originally idea was to try focus on thing what are closely enough to "PE", but then question remains, what is PE and if we narrow it down to "sounds like early Whitehouse", is there really bands what qualify as "PE"? And does majority of the list really go under PE. You know, John Duncan "riot" LP? Improvised shortwave radio noise? Blackhouse "hope" LP, just sort of rhythmic pre-EBM/industrial works. Boy Dirt Car, Eric Lunde, Ultra, Law, Brighter Death Now, etc... When we reach bands like Haus Arafna, it's pretty far on goth/dancey/industrial.. even kind of "dark pop" whatever people call it, it should be clear list isn't all about two-synths-and-screaming-obscenities -template.
Perhaps accurate title could be "canon of power electronics/post-mortem/dark side of post-industrial". Then one wouldn't need to be too picky whether particular album fits into category, but still have some sense in it that it won't be just full of ambient, harsh noise and such.
But more importantly would be if there are suggestions? With short text why. It would be stupid to just list assumed greats, what haven't really made impact. One could say, based on things I read, and what I felt, new Genocide Organ would be most likely be entry on year 2016. Other big names, such as Consumer Electronics – Dollhouse Songs LP, 1000 copies done, but I haven't seen more than perhaps couple usual suspects praise it. But popularity may be elsewhere? 30 dates tour around europe this spring... One may debate whether it is "true PE", but as mentioned, we could ask the same about half of titles on list.
More importantly of course, what would be beyond the known names, the high profile ones. I mentioned for example Kevlar and ZSS. Not only alone, but kind of picking up representatives from heavier stuff. ZSS moves in territory where previously Streicher, Mania and perhaps rough themes been dealt to such vulgar levels by XE. It's possible none of them were listed either. Kevlar is not only representative for themselves as band who created releases what sold fast, was talked about and appreciated, but also could be reminder about wider "heavy electronics" wave that has been happening.
Anyone on board, as always, suggestions welcome. Just explain briefly why and it can be discussed. Try to not make it list of own stuff that is in need of attention. If some release seems out of place on list, critic for it also possible. But preferably, not question why LXSS of such is on the list, but rather question why there is no entry for ____, _____ and _____?
"Back then" was a different world. It may as well have been a different planet.
CE "back then" may have a place but CE of today doesn't because it's for Wire readers, old geezers who have no interest in anything new (or much of the old either for that matter) and the odd guilt ridden noise fan who considers them an acceptable face of PE because there are art credentials attached and/or some other bollocks. It's PE for people who pinch their noses at the genre made by people who pinch their noses at the genre.
Puce Mary has made enough of a mark to warrant a place. Time will tell how many future releases will belong there though.
I agree with Andrew McIntosh. There's no rush and time tells who belongs there and who doesn't.
It's clear from the list that the longevity of the genre (both strictly PE and it's wider cross pollination with other harsh noise genres) as well as subjective notions make this a potential mish mash of releases that reminds me of those mainstream press lists of lp's to listen to before you die (as well as driving scone hand prices up for 'classics' ).
A cannon to me is tightly defined. That said the process of historification should be by those involved rather than outsiders.
To a listener of 30 odd years standing it strikes me that suggestion are subjective and partial. There's plenty I've listened to but plenty I've missed.
That said recent PE releases (subjective) would need to include STAB Electronics and Iron Fist of the Sun- and to muddy the water somewhat I would include live performances as part of their inclusion
Quote from: FreakAnimalFinland on March 26, 2016, 02:23:42 PM
Gaze Campaign "Gestalt Bruise" tape
I would say this deserves a place on the list. Two reasons, 1) It marked the beginnings of a strong label with a very strict aesthetic and attention to detail as far as packaging (something, if done well, is ESSENTIAL and can truly define an album). 2) It gives Japan a major PE voice since White Hospital's "Holocaust" a country that, in contrast, is much more widely known for it's harsh noise.
And now that it's mentioned, White Hospital could belong in the 1984 slot for essentially influencing GC I'm sure.
Quote from: GEWALTMONOPOL on March 27, 2016, 06:43:58 PM
"Back then" was a different world. It may as well have been a different planet.
CE "back then" may have a place but CE of today doesn't because it's for Wire readers, old geezers who have no interest in anything new (or much of the old either for that matter) and the odd guilt ridden noise fan who considers them an acceptable face of PE because there are art credentials attached and/or some other bollocks. It's PE for people who pinch their noses at the genre made by people who pinch their noses at the genre.
Puce Mary has made enough of a mark to warrant a place. Time will tell how many future releases will belong there though.
I agree with Andrew McIntosh. There's no rush and time tells who belongs there and who doesn't.
Tbh, I am not a fan of the new record. That being said, I would say that a lot of what you said is not true. I often read people talking about "art credentials" on this board. Who gives a fuck if Sarah got a degree in the arts? I don't think that is really a consideration many people take up in noise and not when critiquing their work. And I know plenty of down and dirty PE HEADS that like old and new CE. Just saying. But I'm speaking from a Midwestern American perspective.
I agree that Puce Mary deserves a place.
Quote from: PTM Jim on March 28, 2016, 07:08:30 AM
Quote from: FreakAnimalFinland on March 26, 2016, 02:23:42 PM
Gaze Campaign "Gestalt Bruise" tape
I would say this deserves a place on the list. Two reasons, 1) It marked the beginnings of a strong label with a very strict aesthetic and attention to detail as far as packaging (something, if done well, is ESSENTIAL and can truly define an album). 2) It gives Japan a major PE voice since White Hospital's "Holocaust" a country that, in contrast, is much more widely known for it's harsh noise.
And now that it's mentioned, White Hospital could belong in the 1984 slot for essentially influencing GC I'm sure.
These would be exactly my reasons. Plus that it was also damn good. As far as I know, project received many invitations from bigger labels based on this release? It is a stand out tape-album if suddenly all the "unexpected" people also notice it.
If I may try to kick some life into topic, I'd just drop one title per year to start with. Something to consider. It's not about writing a bible, but would be certainly nice to see that there IS something published in last 10 years what has made some sort of memory impact on people...
2009
Xenophobic Ejaculation "white power" and
"victory". Project took the sexualized racist offenses to logical conclusion barely seen even in the vilest old PE. The fact that material has been issued on tape, LP, CD, LP box and still it is just wanted. Some may say, it's just niche for those who want to try out something most disgusting, but I doubt that would be only reason. Project simply delivers something what has not been there. One could pick most crude pieces of Ramleh, early SJ, Whitehouse's Buchenwald, and still XE comes out more piercing and more challenging.
2010
IRM "Order 4" CDI've heard people say that when this came out, there was like no way back. If Closure is step away from "power electronics", perhaps this still is pretty accurately under genre tag? Influential for being such carefully crafted, lots of atmospheric drone, but also throbbing electronic power, but also innovative experimentation. Been widely available as well.
2011
Trepaneringsritualen "Veil The World" tape (/CD)Again band, who hardly is "PE" in the strict sense. But if there are crude vocals, suffocating rotten soundscapes that are both noisy and grim, I guess we get close enough. We have several death industrial releases on list anyways. Why Veil The World? Basically that it is a step above from 1st tape (in my opinion), and also kind of starting point when band suddenly starts to be noticed. In what order it happened? 2011 also Martyrium tape came out, as well as Totality of Death compilation tape version. And next thing, in couple of years everybody wants piece of TRP. Releases, re-releases, cross-over from deep underground into touring and large press-coverage. Maybe latter works display already such a classic industrial music, that they barely qualify, but here, I think his approach still fits under list in same way as all the "heavy electronics", "postmortem", "old school industrial noise" releases have.
2012
Alfarmania "Skräcken" CDAfter so much hard to get tapes, small edition vinyls, etc.. Finally there was regular digipak CD possible to buy. What exactly makes it stand out from Alfarmania output, is hard to say. To me there is hardly any fails in Alfarmania discography. His bleak rotten industrial waste with echoing vocals is perhaps lacking the "hit songs", but band is much more than one stand out song. It is crucial in awakening of "postmortem" spirit in scandinavia - and further. I just pick the CD for reasons mentioned before. Alfarmania's influence probably goes way beyond is it "available" or even heard.
2013
LR "The Fragility Of Happiness" tape/LPThis probably causes controversy. First of all, is it PE? Well, lets say, it's PE in same sense as some works of Prurient. Vocal shrieking with loud feedback. Raw noisy sounds. Song structures. Not to-the-bone PE thug mentality, obviously, but hardly just "art noise". There is no techno. There is no noiserock or fuzz-punk or post-punk here. Out of influential and praised Copenhagen/Posh Isolation scene, whatever one thinks of it, one can't deny it has had impact both locally and globally. This tape was reissued on big print run LP and therefore likely to have more individual impact than most tapes that just disappear. Average ratings on LP at discogs is firm 5/5, so I'm not only one who'd feel this is better than many other posh isolation titles.
2014
And talking of pressing numbers and ratings, I guess one example of the current heavy electronics would be of course
Shift "Altamont Rising". Cold Spring probably pressed even 1000 copies? Vinyl LP was done and sold in blink of an eye. Multiple ratings at discogs hits almost full 5/5. It is unlike the "90's heavy electronics". It's more saturated and distorted, cold, nihilist and hostile, yet fully escapes "noise". Perhaps satisfactory also genre fanatics, that there is no flirt to mainstream, artworld nor much of cross over anywhere. Just isolation inside industrial power electronics.
2015
again not PE per se, but how could not mention
KE/HIL "Zone 0"? Of course one could claim that this is talked about and praised because there are some known figures behind it. But then, just check out the album and it seems like some sort of energy had been injected in veins at Mannhaim, since the projects suddenly improved and made their best works ever - or for long time in recent times!
1993 Charred Remains A·K·A Man Is The Bastard 'Our Earth's Blood' 7"
A singular North American approach, though evidently influential. Surely a case can be made for the inclusion of Bastard Noise - or is their scope too wide otherwise?
1994 John Duncan 'John See Soundtracks' LP
I noticed 'Riot' is already listed, but is there maybe something of significance to be found here also? A piece like 'Breath Choir' feeds pleasingly into the thematic preoccupations of many subsequent PE works.
2008 V/A 'Break Your Face' CD
Thinking here about the fourth criteria listed in the OP - 'high local relevance'. Although Slogun already appears, this compilation perhaps encapsulates a particular strain of North American action from 2000-2010.
2009 BT.HN. 'Vitiated' LP
Perhaps a stretch - something is here in the presentation and mood that seems fitting. Throbbing dirty electronics with little movement and a dismal, unsympathetic general tone.
2014 Forza Albino 'Black Dog' LP/CS
Again thinking of geography - there is discussion here about the works of Puce Mary (and rightfully so), but is this perhaps a more fitting exemplar of contemporary Danish PE?
I could second on all these. MITB our earths blood is not only still very strong, but I believe it introduced certain audience whole "PE" sound. If one would need some clarification my personal appreciation, how about "Freak Animal" pulled from lyrics of this 7", hah... Or guy from U.N.D. tattooing the same on his neck. Band hold very clear relevance to 90's Finnish scene in general. You could ask almost anyone, UND, Bizarre Uproar, Order, Pain Nail,.. etc..
John Duncan is great, and also quite nice stories. One could see highlight in a way of expanding to film soundtracks, highly collectible pic LP, this CD being still available due large print runs. Is it PE per se... not really..
Isn't Break Your Face 2004? Perhaps could culminate this team who is on the compilation. Slogun and co. invaded europe few times, did Japan and so on.. This was released for the tour, but was perhaps kind of testament of this time? I was present in several occasions and it was pretty enthusiastic international events to be remembered. I would say Slogun would deserve more mentioned than just one CD on this list.
Control has not yet been even included, even if he has presented very unique sound and approach. Someone suggested World Of Lies few message ago, and I would agree on that. I requested band if he would have some material what is less densely layered. He offered me this more violent and direct album, and I personally appreciate it very highly! Debut CD isn't that amazing, but already from 2nd album onwards, all albums are good.
BT.HN, I guess already name itself refers to "Harsh Noise"? Of course list includes stuff like MO "Anal Perversions" which is pretty much harsh noise recording, but I guess BT.HN. would rather be noise project..
Forza Albino, being again my release, I don't want to suggest it myself. Now most members seem to be out from the scene, so this may remain as farewell of project. It has been sent out a lot of copies around world and seems to fill the need of rough good prototype PE. I mean, even making this kind of canonized list of PE makes one realize how little there is real power electronics! And how small fragment of that would be firmly focused on nasty noisy electronics and energetic vocals. I knew the guys before band, and I don't remember what was the original name idea for band, but I recall telling that it ain't too good. They ended up using Forza Albino. Pussyboy track from first tape is certainly something of an instant hit. It has the very unusual aura on it, as it rejects the all-the-way-brutal "punk/metal" approach vocals, and goes almost whiny howls. It would be really good to get both 12"s and both tapes to be one full length Forza Albino CD. That would be desired testament if the project if really over...
QuoteIsn't Break Your Face 2004?
Right you are - my mistake!
QuoteBT.HN, I guess already name itself refers to "Harsh Noise"? Of course list includes stuff like MO "Anal Perversions" which is pretty much harsh noise recording, but I guess BT.HN. would rather be noise project..
Yeah fair enough. On reflection it is perhaps a work that contains elements of or pushes towards PE - but is not an exemplification of the mode.
BT. HN. is more controlled PE dynamism; from crashing feedback and steel abuse, to throbbing lines of electronics and vocals. words from Sam in a interview from 2010 but in my book it #1 PE
Quote from: FreakAnimalFinland on March 27, 2016, 10:20:21 AMOther big names, such as Consumer Electronics – Dollhouse Songs LP, 1000 copies done, but I haven't seen more than perhaps couple usual suspects praise it. But popularity may be elsewhere? 30 dates tour around europe this spring... One may debate whether it is "true PE", but as mentioned, we could ask the same about half of titles on list.
Saw last night in Salford - young audience with many 20somethings, and large proportion of females present, the beats and Russell Haswell's input much more clear than on the album. Nothing at all to do with PE anymore beyond the obvious history, some of the subject matter and aesthetics. I guess you could call it some kind of bad trip psychedelia or rave comedown thing? Hard to describe for sure.
Quote from: FreakAnimalFinland on March 28, 2016, 10:10:38 AM
2015
again not PE per se, but how could not mention KE/HIL "Zone 0"? Of course one could claim that this is talked about and praised because there are some known figures behind it. But then, just check out the album and it seems like some sort of energy had been injected in veins at Mannhaim, since the projects suddenly improved and made their best works ever - or for long time in recent times!
Zone 0 is a giant leap forward for the project and was greeted with some surprise and got a generally warmer reception than the traditional or, perhaps more accurately described, familiar sounding Hellstation. There is no doubt this is a great album and it firmly dispels any suggestion that "Mannheim" has lost its drive. For that it's not unfair to add it to The Canon but at the same time I prefer Hellstation for it's cold and precise sound. Both albums are great but Hellstation is more to my personal taste.
Albums that belong in the canon may not always be an artists strongest work. I think it's more about impact at a time and place. For example Leichenlinie. By miles not their best work but it's the one album that set the whole thing in motion and therefore more significant in the canon than vastly superior albums like The Truth or In-Konflikt.
Survival Unit belongs in the canon. Not sure which album goes up there but he definitely belongs.
I think Forza Albino would be a good addition to the cannon. Unique atmosphere and sound that is sadistic in its own way. Charisma.
Quote from: GEWALTMONOPOL on March 29, 2016, 12:46:37 AM
Survival Unit belongs in the canon. Not sure which album goes up there but he definitely belongs.
Agreed. My vote would have to go to
Fentanyl Martyrs because even at two discs, there's no filler at all and it's the perfect culmination of the SU sound imo, or
Will to Zero which is pretty damn solid, even if it is a bit rougher around the edges.
agree with SU- Fentanyl Martyrs should be add to the list
Maybe make this topic a sticky (then also with the noise canon topic) ? Lot's of good information for sure.
In my opinion Survival Unit 'Fentanyl Martyrs' surely belongs in the canon.
I would also like to mention Brethren - personal favourite is Alienated and Radicalized, but maybe for the canon it should be Savage Inequalities.
Yeah, I noticed Brethren was missing - but I think the Organized Resistance one is even better.
Quote from: burdizzo on April 01, 2016, 11:24:32 PM
Yeah, I noticed Brethren was missing - but I think the Organized Resistance one is even better.
Stumbled across Organized Resistance a few months ago and HAD to pick up the tape immediately, still listening to it on a weekly and sometimes almost daily basis. Vocals are completely enraged and berzerk and then monotone and very straight forward. The restrained parts of the album compliment the raging storm sections perfectly. A modern PE classic, for me at least, along with the already mentioned Zyklon SS- Anti Personnel Explosive Device which I might like even more.
Can't wait to hear the Iron Division tape.
'Iron Division' is great.
Also from the Brethren 'stable' is Revolutionary Command, and their LP has some nice stuff, too - though probably not as strong as Organized Resistance.
Quote from: FreakAnimalFinland on December 08, 2009, 10:09:41 AM
1985
*Controlled Bleeding "Knees And Bones" LP, one of the utmost classics. And the material of session has been recycled extensively, and with success, like "Plegm Bag Spattered" cd 5 years later, which could be even stronger?
Artoffact is reissuing it on CD and 2xLP this summer, along with
Distress Signals and
Body Samples.
http://www.stormingthebase.com/controlled-bleeding/
If we are going to cast a wide net and say Industrial/Noise/PE, I think you have to include Throbbing Gristle, 2nd Annual Report (1978).
They coined the term Industrial, so are indisputably influential in that alone. But also the confrontational aspects, outre topics of nazism, perversion, pedophilia etc seem to kind of started with them. They were more of a 'band' but did have some elements of PE involved if you consider the stuff Chris Carter did with sound generation devices he built himself.
I'd also posit that Cabaret Voltaire's releases up until 'Crackdown' were pretty influential. "Red Mecca" (1981) which contrasted the Christian right with Islamic extremists. 'Baader-Meinhof' (1979) and similar 7"s from early CV show a lot of directions that later bands kind of templated. Of course they later veered off into electro-industrial and then straight up dance music. Not as much my cup of tea, but I think they cast a pretty long shadow in that regard with acts like Skinny Puppy, NIN and other more commercial acts certainly taking cues from them, but leaving out any controversial content.
But hey, if you are acknowledging SPK who later went pretty much straight up dance with some funny edges, it's hard to write off CV and TG for doing the same.
Quote from: calaverasgrande on June 27, 2016, 01:08:12 AMThey coined the term Industrial
No, Monte Cazazza coined the term industrial.
Quote from: breidahl on July 02, 2016, 12:59:42 PM
Quote from: calaverasgrande on June 27, 2016, 01:08:12 AMThey coined the term Industrial
No, Monte Cazazza coined the term industrial.
Ha funny don't know how I could forget Monte Cazazza. That's like forgetting Boyd Rice.
I've even got a record of his or two.
Still, TG worked with him and was pretty instrumental in popularizing the term.
Quote from: Brad on April 28, 2016, 06:09:24 PM
Quote from: FreakAnimalFinland on December 08, 2009, 10:09:41 AM
1985
*Controlled Bleeding "Knees And Bones" LP, one of the utmost classics. And the material of session has been recycled extensively, and with success, like "Plegm Bag Spattered" cd 5 years later, which could be even stronger?
Artoffact is reissuing it on CD and 2xLP this summer, along with Distress Signals and Body Samples.
http://www.stormingthebase.com/controlled-bleeding/
I own originals of the debut LP & "Distress Signals" but I may have to pick the reissues up. The Broken Flag tape isn't exactly one I want to play in my van tape deck to eat up.
Quote from: FreakAnimalFinland on December 08, 2009, 10:09:41 AM
1996
*Grey Wolves "Catholic Priests Fuck Children" LP
Hospital Productions just announced a reissue of this one on CD.
I'd second the Sick seed - the Great Corrupter. I feel SS managed to create something unique and have carved a different path with this one.
I also feel that in time, the new Con-dom "how welcome is death to I [..]" is going to be added to this list in time once its impact has been realized. A very welcome and different approach to p.e. which really sticks with you
Quote from: Brad on July 11, 2017, 01:37:42 AM
Quote from: FreakAnimalFinland on December 08, 2009, 10:09:41 AM
1996
*Grey Wolves "Catholic Priests Fuck Children" LP
Hospital Productions just announced a reissue of this one on CD.
Shit just got real http://www.discogs.com/The-Grey-Wolves-Catholic-Priests-Fuck-Children/release/10659957
Some other killer shit was released as well http://hospitalproductions.net/news/
Nicole 12 - Black lines deserves some distinction.
Also I'd really like to agree with Mikko about G.R. by Deathpile, total savagery and hellish reality.
I understand that this is the canon of "p.e" (opposed to indistrial) but if you're including SPK, isn't it strange not to include any Throbbing Gristle, which basically laid the foundation for what others worked with?
Quote from: Thor on February 03, 2019, 02:21:53 PM
I understand that this is the canon of "p.e" (opposed to indistrial) but if you're including SPK, isn't it strange not to include any Throbbing Gristle, which basically laid the foundation for what others worked with?
one might include we hate you 7" but otherwise i don't feel TG matches the sheer frenzied madness of SPK.
Really outstanding topic.
Since it's been four years since the last post, has it received any kind of update? In the meantime, as we cross another decade, is it easier to establish which specific releases have been influential through the last years? I mean specially from 2000 onwards, as the past two decades pretty much have their established canon of landmark releaes. Wouldn't it be interesting, thus, to update the first section of this thread with what has been discussed? This is just a suggestion, obviously.
I'm interested in exploring genres and music styles which I value with serious effort. In the midst of a thousand new releases being spawned within each year, it's kinda hard to keep in pace with what is "going on" at least for me, in terms of actual music. Outlining essential releases within the genre is a most valued effort I believe, in order at least to offer us fans of Noise and music in general a fair perspective on where to start within each realm of the style.
That being said, was the Hated Perversions split mentioned on this thread? I might have missed it, but guess would fit with the list.
I think that early works is possible to get some sort of overall view. When genre expands a lot, there comes moment when a lot of releases do not have same weight in terms of being kind of... "genre defining".
Of course, one would assume there could be bunch of "votes" what would be best albums of 2015 or what did bring something new on table. Sort of "noteworthy additions", besides being simply good. I have a feeling that for early works there is perspective - we tend to think in certain way.. while later days it may be changing into less trustworthy mode of favoring friends and associates. Perhaps not even intentionally, just that you got those, and didn't even hear most of other recordings.
Like I mentioned before, either on this topic, or where it formerly was (this was created already on Chondritic/Troniks forum!), I could do such list from my own perspective, no problem. Just it would then lacking the more collective perspective, where it is less about my taste, more about power electronics as a whole.
I would say that we don't need messages merely dropping names, but also why. To be able to briefly describe what it was that album did - even locally. How it stood out... Like lets say IRM "Closure". It can be debated is it anymore power electronics, but I've seen many mention how it took approach into something new they never heard and was outstanding album. You can find it from discogs for couple bucks, so the rare expensive cult album perspective is totally obsolete. Also thinking did it influence other makers to expand expression of PE? Not sure, but I know some current day appreciated names such as Human Larvae who has developed into new levels has name dropped IRM among influences.
Or same year, SHIFT "Altamont Rising". It has very unique approach, it has the malicious and cold hostility to levels not seen very often, plus was part of this almost movement of "United Forces of Industrial", that tied up lots of artists, fests, gigs, and such. More than just album and depending how you define "canon", how something ends up there, it may be just that kind of glue that pulled entire approach with it. Not meaning that those bands associated with label or gigs would not stand on their own feet, but I guess anyone gets what I am saying. Besides good, also meaningful force that creates development or change with it.
Anyone wanting to post, don't be shy. In the original discussion on other forum, I recall many names were dropped with reasons and also critic was given why not very relevant album. Discussion itself is good, and even if your suggestion didn't make it there, it can trigger someone to check out artist/release etc.
My hopes would be, that it would be something else than we see in metal scene for example. You got tens of thousands of bands out there, and you have someone making best of year lists and its like desperately scraping list together out of whatever release big known names did. As if latest Iron Maiden and new Mayhem is the best thing out there right now... hah..
I wrote this small article a while back https://kalteldur.blogspot.com/search?q=power+electronics on 4 decades of PE in retrospect. It's obviously missing a lot of stuff, especially glaring is the complete lack of attention to the US scene, but it's a fair attempt at thinking about a possible canon... Should I do it again I'd probably throw some Final Solution, Intrinsic Action and Death Squad in the mix.
I'll be back later with some comments and suggestions on newer stuff that might be canon in the future when I get a little more time on my hands, but for starters I think Unpunished by Am Not will be added to the canon in due time.
Thinking about current US stuff... I'd throw Gnawed - Subterranean Rites in there. Made many people's 2020 "best of" year end list and is still talked about to this day as an influential album. Especially in my peer group.
Quote from: HateSermon on August 09, 2023, 06:28:23 PMThinking about current US stuff...
Terror Cell Unit and Koufar
Pissior Rouge & Scatmother, their collaboration work / solo releases are top tier modern Power Electronics.
Too new of course for the "canon of PE", but I was pretty impressed by latest (?) Scatmother tape! I may have missed bunch of releases between this and the olders ones, but got to check that at what point the sounds/noises got into this level.
Quote from: XXX on September 06, 2023, 01:14:51 AMQuote from: HONOR_IS_KING! on September 05, 2023, 09:11:25 PMQuote from: HateSermon on August 09, 2023, 06:28:23 PMThinking about current US stuff...
Terror Cell Unit and Koufar
& he's humble too folks.
I ain't gotta be when I got the love and respect from the people you've been "worshiping" over the last 15 years. TCU just made history in the genre being the first duo PE act to do a full month tour supporting a powerviolence band and it being successful to boot (ie, bills paid, money made). Without changing a thing, playing samples that pissed people off and made them walk out the room. All on our own terms and not in the vein of the redundancies you all fancy in this world.
I mean ya'll got so desperate to talk about some new PE you started a Pharmakon thread first.
Being "humble" at this point is a "cool guy" move for fools who got big opinions and thoughts but only make small time actions in real life.
Back to the subject at hand though Shifts "Altamont Rising" is another for the canon.
Quote from: HONOR_IS_KING! on September 06, 2023, 07:47:15 PMQuote from: XXX on September 06, 2023, 01:14:51 AMQuote from: HONOR_IS_KING! on September 05, 2023, 09:11:25 PMQuote from: HateSermon on August 09, 2023, 06:28:23 PMThinking about current US stuff...
Terror Cell Unit and Koufar
& he's humble too folks.
I ain't gotta be when I got the love and respect from the people you've been "worshiping" over the last 15 years. TCU just made history in the genre being the first duo PE act to do a full month tour supporting a powerviolence band and it being successful to boot (ie, bills paid, money made). Without changing a thing, playing samples that pissed people off and made them walk out the room. All on our own terms and not in the vein of the redundancies you all fancy in this world.
I mean ya'll got so desperate to talk about some new PE you started a Pharmakon thread first.
Being "humble" at this point is a "cool guy" move for fools who got big opinions and thoughts but only make small time actions in real life.
Back to the subject at hand though Shifts "Altamont Rising" is another for the canon.
Pride comes before a fall!
Like in the opening message is described, purpose of list is not to be only "albums I like" -type best of list. Neither about who is cool guy. As reminder of some quidelines:
QuotePlease, no suggestions based on who is your friend and who is cool & great dude.
What kind of releases should be included?
1) Preferably on their relevance influencing whole genre and importance in some sort of landmarks.
2) Releases with high status based merely on success, and therefore their obvious influence in getting into ears of big number of people.
3) Releases with exceptionally good/original/unusual contribution, to musical or cultural climate of power electronics, even if they may not be at their time or at the moment high "commericial" success.
4) Releases with high local relevance. Local not meaning "you and your buddies", but for example domestic scene of your country.
Purpose of the list?
To observe & investigate the development of the genre, it's highlights, exceptional releases. Basically landmarks of genre from 1979 to 2008. To observe something like this, can't be merely list of top-3 or evern top-10 PE releases and biggest bands. Every release doesn't have to be equivalent of RIGHT TO KILL in musical style, legendary status or such. There is needed to be releases that show where genre went after the first and biggest impacts. And also releases, what are not necessarily milestones of genre as whole, but some fraction of it.
So, before thinking about what is the good albums of couple recent years, I would suppose they are yet to be
canonized in first place. Lets say album that have come out 2020, how could it be yet have become cult classics, canonized in genre history by people involved and critics? You could think some releases, such as from Linekraft would make it. We could observe that after slow starts of quite small releases, suddenly something happens. 2017 playing in German festival highly praised gig, and followed with albums on Tesco, Hospital, SSSM, Aussaat, New Approach, etc. While some of the praised American bands don't sell from my distro at all, their popularity over here seems to be next to nothight, I guess I took like.. 30 of Linekraft Howling CD alone. Not sure how many times Asura LP was re-stocked. People praising, buying and band topping themselves with many of the releases. However, what of the albums would survive test of time? That can't be really known now. It will be known later on. Also, to think how remarkable "2020 release" something is, one should compared it with other 2020 releases, and I would assume most people have yet to even hear enough albums to evaluate what stuff even came that year?
More interesting would be looking back into years where we have enough distance and it is possible we even know a lot of releases that each year came. Unfortunately the topic on Chondritic/Troniks forum that had all the name dropping & suggestions, is no longer online. What all was suggested, but was hesitated to put it, unless enough people comment that it really is something made a difference.
Like 1999? Nothing there yet. Think how good releases came in 1999!
-Taint - Dau ghter: Victimology 2 CD
-Proiekt Hat - Deform Process LP
-Genocide Organ :The Truth Will Make You Free: LP
-IRM "red album" LP
-Folkstorm Information Blitzkrieg CD
-Atrax Morgue Overcome LP (debut LP, plus marking stongly this changed style into big vinyl)
-Sutcliffe Jügend – The Victim As Beauty CD (many friends as why I don't like this album, since they are it among the absolute biggest landmarks of power electronics)
and so on...
Jumping into 2001 and there is 1 album? Con-Dom surely was great, no problem. JerUSAlem? Good, but maybe not good enough, since it barely does more than follows the previous album. Propergol Renegade CD - like it or not, pushed production into quite new levels.
2002.. Control – Algolagnia CD. First was good, but this 2nd release, damn, it changed a lot what is done in "PE" and since then artists established its place in global scene, multiple tours in Europe, Japan, etc. Strom.ec Neural Architect probably had even bigger reach due USA label with bigger pressing (compared to debut album)...
2003.. If it was era of "what constitutes as PE" being even more flexible, artists who would be known as NOISE, would produce album that certainly fall closer to old PE than many of PE bands themselves. Lets say like Prurient "History of AIDS". Same year, compilations as "Field Tales" 3xtape stood out as quite testament of this era. While tape advertised itself to be "inspired by the 80's cassette culture", I'd say it is much more than that.
2004 only one album? To me that era feels like there was a lot of things happening. While putting out things such as N12 "substitute", Pain Nail debut LP, they didn't appear in vacuum but in vastly busy flourishing genre of that time. Some could say even kind of new rise of PE? So there must be more. Just placing years and albums into any sort of chronology after almost 20 years is a bit tough!
Looking at the first page again and noticed it stopping at 2008. I feel that 12 years is enough time to put something from 2011.
PRURIENT - BERMUDA DRAIN
This album does exactly what a noise/PE album should do in my opinion...DIVIDE! It pushed the boundaries of what PE is and can be, spawned endless clones immediately, and best of all, made people absolutely HATE it. By being what noise supposedly is not, it is the most noise album possible at the time. Love it or hate it, it is legendary.
Quote from: PTM Jim on September 07, 2023, 09:17:42 PMPRURIENT - BERMUDA DRAIN
I was ready to trash you but then you just had me with your arguments.
Quote from: PTM Jim on September 07, 2023, 09:17:42 PMLooking at the first page again and noticed it stopping at 2008. I feel that 12 years is enough time to put something from 2011.
PRURIENT - BERMUDA DRAIN
Hm, interesting, specially since it is probably the Prurient release I less like. But the, wouldn't FNF be a more suitable option for that position, as it seems to have amplified the range of experimentation and reached a wider audience than the previous effort? Correct if I'm wrong on this, but anyway. I agree on The History of Aids being outlined on the Canon, quite an enormous album.
Quote from: Kaaoskultti on November 15, 2023, 06:27:17 AMQuote from: PTM Jim on September 07, 2023, 09:17:42 PMLooking at the first page again and noticed it stopping at 2008. I feel that 12 years is enough time to put something from 2011.
PRURIENT - BERMUDA DRAIN
Hm, interesting, specially since it is probably the Prurient release I less like. But the, wouldn't FNF be a more suitable option for that position, as it seems to have amplified the range of experimentation and reached a wider audience than the previous effort? Correct if I'm wrong on this, but anyway. I agree on The History of Aids being outlined on the Canon, quite an enormous album.
Nah, FNF came out 4 years later and when BD came out it was an instant black and white between love and hate. Was probably the biggest thing in noise since Wolf Eyes signing to Sub Pop also.
I acknowledge the significance of Bermuda Drain, but at the same time I wonder if it really qualifies as power electronics album or even noise. Knowing that artists often considers noise more as conceptual thing, not necessary to be harsh noise sound all the way. He is of course entitled for such approach, and album has certainly its benefits but most of it is not noise by any means. One could perhaps argue album is something that within several music tracks, there are power electronics type songs inbetween that may have exposed totally new crowd to this sound? To me it sounds almost like situation would one consider SPK "metal dance" as remarkable breakthrough for power electronics? Musically Bermuda Drain has several tracks that have way more Metal Dance approach - with exception of screamo vocals. I have never heard anyone claim that single or following album would have taken things to next level, but becoming something else?
As result, I suppose artist became bigger and bigger, and could perform in bigger venues and fests - and I believe he didn't hold back on how brutal sets could be? That would be interesting element.
There is the element of regional importance. Wolf Eyes and such, as big they were, I remember talking with some european industrial-noise people and they being "wolf... who?". Big for noise. Big for indie rock. Big for indie media. All those valid points for sure, but in canon of power electronics, I would certainly think Pleasure Ground (and history of aids) probably would stand as something that made its mark also within genre itself. I would say after Pleasure Ground came out, it had some genre changing impact. Design, sound, etc. Next PE things you'd hear coming following it, you could hear artists who "sound like Prurient" (and often referring this album), look like his asthetics, and topics they deal with appear like they certainly would be more "Hospital" than "Come org".
Bermuda Drain is a great LP and not at all Power Electronics. History of Aids and Pleasure Ground are the right picks imo. Impactful and innovative records that color inside the lines enough for the PE title.
Bastard Noise toured extensively with Hardcore bands and played to audiences wanting Power Violence 30 years ago. There has not been a new PV band for 25 years, the terms corrupted.
Quote from: FreakAnimalFinland on August 09, 2023, 08:54:53 AMI think that early works is possible to get some sort of overall view. When genre expands a lot, there comes moment when a lot of releases do not have same weight in terms of being kind of... "genre defining".
Of course, one would assume there could be bunch of "votes" what would be best albums of 2015 or what did bring something new on table. Sort of "noteworthy additions", besides being simply good. I have a feeling that for early works there is perspective - we tend to think in certain way.. while later days it may be changing into less trustworthy mode of favoring friends and associates. Perhaps not even intentionally, just that you got those, and didn't even hear most of other recordings.
(...)
My hopes would be, that it would be something else than we see in metal scene for example. You got tens of thousands of bands out there, and you have someone making best of year lists and its like desperately scraping list together out of whatever release big known names did. As if latest Iron Maiden and new Mayhem is the best thing out there right now... hah..
I agree with this approach.
I have some questions regarding the top releases from the canon which are not meant to diminish the importance of any of them, but rather clarify myself in which aspects one could be considered part of it, and thus, I also have some recommendations on albums I believe should participate in the list. It could be argued for most of this records that they aren't PE at all, but then you have stuff like SPK and Le Syndicat on the list, whose influence is clearly recognized throughout the genre.
* Suicide – Suicide ('77): an absolute classic. Even though hardly acknowledged in their own time, the duo of Vega and Rev managed to produce something that would not only influence the general gear aesthetic of New Wave, but extreme Industrial and Noise in general. Bennett once described this as an influence towards what he was trying to achieve with his music. Not Power Electronics, and a bit far from the Industrial of those days. But undoubtly genre-defining, not only for later New Wave or Industrial bands alike, but for PE aswell. The guy from Final Solution mentions being a teenager in late 70's New York and stumbling across some "punk" concert, for which he had no idea what was about, and then having the life-changing experience of what he perceived as being the "true sound of the city's subways" and whatnot. I believe that firmly evokes the "Industrial" view of music as a representation of the "noise" emanated from the real world.
* Throbbing Gristle – The Second Annual Report of TG ('76): obviously many releases of them could be subscribed here, but this one I believe captures the vibe of to-be PE and whose seeds have sown. Talk about harrowing samples, one minute bizarre introductions, deranged tales of pregnant woman dismemberment combined with an actual recording of the confrontations comprehensively cause by their music. Organic reactions to genuine provocation, evoking an atmosphere of hostility amid a large Industrial landscape a lá Eraserhead's town. Of course many TG releases could understandably fit in within this list, but I think this one really hits the nail.
* Nicole 12 – Substitute (2004): In the Canon there are splits in which N12 is featured. But I do consider this one to be a masterpiece. Not only that, but I believe this one deserves a place on here since it might have been this particular release which introduced further artists into the realm of sexual exploitation and the themes contained therein. I could be wrong, but since Mikko said in Bardo's interview it has sold quite a lot of copies around the world, that might be true. Furthermore, its iconic status as one of the first releases whose sale has been blocked on discogs, and the depth and nuance through which the subject matter in question is analysed in this release heightens above (what people usually perceive as being) shock tactics to unify a concept that is thoroughly exposed on this sonic nightmare.
The whole point of the album, in my opinion, comes from the final track, "New Generation". Oddly enough, it makes an ending rife with melancholy that contrasts with the utter vulgarity that permeates the music. It's even as if... the composer had empathy towards these victims. What is being exposed in that ten minute sample interview is sometimes hard to decipher, or even to grasp what exactly is the main point being portrayed. But it offers good points for thought and reflection.
Here are mine questions, by the way:
* Nicole 12 & Taint – Candyman – There could just some misreading of my own on here, but my question is, how did this particular one "opened up the subject for other artists"? The "subject" has been treated since the early days of Industrial, but then again, I guess that was a reference to a much more subtle and complex approach, and specifically the bands spawned therein. One can definitely see the influence of N12 on Sick Seed's "The Most Hated Crime of Them all", whose piano-based (is there any thread on piano-noise, by the way?) evokes the deranged exploitations of Ballerina and Videostar Once Again. Artists like Climax Denial, S.T.A.B. Electronics, Striations, North Central, Strict, Caligula031 and much more have dealt with such themes, not to mention the Institute of Paraphilia Studies. Overall, this split sounds much more like a Taint release than a N12 one, albeit the first track. Reminds me of Wonderland Club's "Pageant" – huge crescendos of walls of filthy noise, distorted vocals, albeit screamed much more in the latter.
Being a documentative project, it's quite a mystery to me what the sounds might really be about..current events at the time, yes, but what exactly? I wonder why kind of conversations must the two artists have had to conceive such a release.
But not only that, the album encapsulates the general context within which the facts have spawned from, that is early 2000's Internet. Not something I have any experience with, to be frank, aside from CD-rom computer games and some other simple stuff. But it's interesting to note that it documents a certain time, which changed a lot (euphemistically speaking) 20 years since its release. The Outro talks about a site being taken down after search warrants being emited, arresting some people and taking down a community of 7.000 members (?). Thing is... how much people would frequent one, in this day and age? Get what I'm saying? Maybe it's time, in the age of AI technology and Sextornistic voyeurism for someone to explore those themes of today, which are plenty and I wouldn't like to name in detail. "The Internt is a kinda dodgy situation", as the reporter said. Wonder what Terry is about.
* MO – Anal Perversions – I figure there might be pragmatic reasons influencing the positioning of a release on the Canon, including how much it may cost nowadays, how rare it is, or even reasons concerning the circulation of a tape among few connoisseurs during the early 80's/90's that framework a classic status. And while I do like AP, I believe Bloodyminded to be a better one, but I digress, since it's my opinion. Question is: why exactly this one and not another from him?
There are seems to be a general impression that I have that, while valueing Mo's work and its influence among Noise and PE, most people on this thread consider it not being on the same level of Whitehouse, SJ, Ramleh & Con-dom. I disagree. Maybe it's also because of Pierpalo Pazzo's usage other's sounds and something I'm not quite aware about that this comes across that way, but take the first two releases for example, the s/t and 2nd Movement. Correct if I'm wrong, but I don't think there was anything quite like it back in the day. More on the side of Noise than PE (Necrofellation sounds like Bennett had an Italian son or something), but low-frequency exploitation done in a fashion that wasn't done from anyone before... maybe? I mean, Industrial has its brooding crescendo loops and all, but a release entirely based on variations of such frequencies, creating that dense atmosphere unparalled? Even BDN and the overall Death Industrial from the late 80's sounds different from it. More complex approaches have been made by the likes of BLJ, DBL and many more later. But I do believe that being made on '80/'81 makes them quite forward-oriented releases.
* The Sodality, Orgies of Crime: But why not BUP? Lyrically, for a late 80's record it goes quite far deep into penetrating (no pun intended) some subjects. Distorted children laugh ten years before Playground. Also, sound volatility and creativity which stems them away from all the PE that was being made at the time. Early WH influence is clear, but sonically it sounds different than anything I've heard during the 80's.
* WH's Birthdeath Experience: being a debut it is understandable to be here, but while I do like the first two albums, I do believe it was in Erector that Bennett managed to create an archetypical sound for the music to come in a fashion much more directed and structured. I recall a lot of interviews in which he shares the same opinion. The title track could be considered as maybe the "Black Sabbath riff" of Power Electronics. Thus, maybe it could be there?
I see this topic only now, so here are my 2 cents:
Iron Fist of the Sun "Behavioural Decline" I think his style of cold and sharp electronic lines, somehow "clean" in their brutal aggressivity, impacted pretty much on the genre. I like all of his outputs and the style remains more or less the same everywhere, I have chosen this one because it's the first one.
S.T.A.B. Electronics "The Non Alliant I" a great continuation of the Atrax Morgue "spirit" mixed with the American filthy attitude.
Shift "Altamont Rising" the most "Power Electronics" of its outputs. Evil atmospheres, obsessive and engulfing sounds and a concept that detaches from the typical power electronics themes.
Uncodified/Wertham "Vindicta I" mentioned here because of the concept (sardinian banditry), besides being a great record of sheer aggressive power electronics.
Quote from: FreakAnimalFinland on November 16, 2023, 10:28:50 AMI acknowledge the significance of Bermuda Drain, but at the same time I wonder if it really qualifies as power electronics album or even noise. Knowing that artists often considers noise more as conceptual thing, not necessary to be harsh noise sound all the way. He is of course entitled for such approach, and album has certainly its benefits but most of it is not noise by any means. One could perhaps argue album is something that within several music tracks, there are power electronics type songs inbetween that may have exposed totally new crowd to this sound? To me it sounds almost like situation would one consider SPK "metal dance" as remarkable breakthrough for power electronics? Musically Bermuda Drain has several tracks that have way more Metal Dance approach - with exception of screamo vocals. I have never heard anyone claim that single or following album would have taken things to next level, but becoming something else?
As result, I suppose artist became bigger and bigger, and could perform in bigger venues and fests - and I believe he didn't hold back on how brutal sets could be? That would be interesting element.
There is the element of regional importance. Wolf Eyes and such, as big they were, I remember talking with some european industrial-noise people and they being "wolf... who?". Big for noise. Big for indie rock. Big for indie media. All those valid points for sure, but in canon of power electronics, I would certainly think Pleasure Ground (and history of aids) probably would stand as something that made its mark also within genre itself. I would say after Pleasure Ground came out, it had some genre changing impact. Design, sound, etc. Next PE things you'd hear coming following it, you could hear artists who "sound like Prurient" (and often referring this album), look like his asthetics, and topics they deal with appear like they certainly would be more "Hospital" than "Come org".
Bermuda Drain certainly doesn't feel or sound like a PE/Noise album. It's certainly a great album, but feels more like a Prurient meets Vatican Shadow type of release with the more electronic synth vibes, definitely sounds more "musical" I've always liked that about Prurient, sometimes you don't know what your in for always. I ordered the new Prurient - Class Ring tape box today and listened to some of it on the Hospital Productions Bandcamp and thought the material was more rooted in dark ambient, rather than PE/Noise and again it's another one of those strange types of Prurient releases that drifts away from noise again, but I thought the concept and art for this new one was quite brilliant and looking forward to the tapes coming.
Quote from: Cranial Blast on September 08, 2024, 09:45:04 PMQuote from: FreakAnimalFinland on November 16, 2023, 10:28:50 AMI acknowledge the significance of Bermuda Drain, but at the same time I wonder if it really qualifies as power electronics album or even noise. Knowing that artists often considers noise more as conceptual thing, not necessary to be harsh noise sound all the way. He is of course entitled for such approach, and album has certainly its benefits but most of it is not noise by any means. One could perhaps argue album is something that within several music tracks, there are power electronics type songs inbetween that may have exposed totally new crowd to this sound? To me it sounds almost like situation would one consider SPK "metal dance" as remarkable breakthrough for power electronics? Musically Bermuda Drain has several tracks that have way more Metal Dance approach - with exception of screamo vocals. I have never heard anyone claim that single or following album would have taken things to next level, but becoming something else?
As result, I suppose artist became bigger and bigger, and could perform in bigger venues and fests - and I believe he didn't hold back on how brutal sets could be? That would be interesting element.
There is the element of regional importance. Wolf Eyes and such, as big they were, I remember talking with some european industrial-noise people and they being "wolf... who?". Big for noise. Big for indie rock. Big for indie media. All those valid points for sure, but in canon of power electronics, I would certainly think Pleasure Ground (and history of aids) probably would stand as something that made its mark also within genre itself. I would say after Pleasure Ground came out, it had some genre changing impact. Design, sound, etc. Next PE things you'd hear coming following it, you could hear artists who "sound like Prurient" (and often referring this album), look like his asthetics, and topics they deal with appear like they certainly would be more "Hospital" than "Come org".
Bermuda Drain certainly doesn't feel or sound like a PE/Noise album. It's certainly a great album, but feels more like a Prurient meets Vatican Shadow type of release with the more electronic synth vibes, definitely sounds more "musical" I've always liked that about Prurient, sometimes you don't know what your in for always. I ordered the new Prurient - Class Ring tape box today and listened to some of it on the Hospital Productions Bandcamp and thought the material was more rooted in dark ambient, rather than PE/Noise and again it's another one of those strange types of Prurient releases that drifts away from noise again, but I thought the concept and art for this new one was quite brilliant and looking forward to the tapes coming.
Definitely. What I like mostly about Prurient is its unbridled musical ecletism, one that doesn't sound pretentious and inorganic, but rather maniphests a profound connection with what Noise/PE (and other kinds of music) is about. Personally, I dislike the darkwave synth approach of Cocaine Death, Bermuda Drain and the like. For me, his first four full-lengths are masterpieces, alongside the first demos and splits (take Shipwrecker's Diary or Magnified Healing). But still, even as Dominick flows into the mainstream by incorporating more musical elements onto his (heh) music, with BD and FNF being praised on the Pitchforks of the Internet alike, and releasing a three hour masterpiece of dark ambient blended with experimental noise (Rainbow Mirror), he spawns a behemoth like Garden of the Mutilated Paratroopers: traditional PE dynamics and structures, minimalistic vocal domination, layered upon harsh noises aestheticizing the darkness of war with such craftmanship that none of the almost 20 songs sound generic or formulaic; on the contrary, each is different than the other. To me, it comes from a person with a personal experience of the pessimistic affliction of Power Electronics, even if criticized for his music (which is something people have the right to).
Oh, but before Garden (I wonder why gardens have such importance to Dominick), he releases a Tesco-like Industrial deathdrive unleasher that is Casablance Flamethrower. Absolutely amazing. Creationist goes back to the more ethereal, psychedelic-like, calmer side of Prurient; and then Cain and Abel S/M brings the serial killer worship to the table without sounding anything like SJ or Deathpile. Rather, it sounds to me like a mix between, say, GotMP and Troubled Sleep. The latest one, focusing on JWGacy, feels more ambientish and mellower than the latest, but maintains the unique approach. All in all, a truly admirable musician.
Quote from: Kaaoskultti on September 10, 2024, 09:05:50 PMQuote from: Cranial Blast on September 08, 2024, 09:45:04 PMQuote from: FreakAnimalFinland on November 16, 2023, 10:28:50 AMI acknowledge the significance of Bermuda Drain, but at the same time I wonder if it really qualifies as power electronics album or even noise. Knowing that artists often considers noise more as conceptual thing, not necessary to be harsh noise sound all the way. He is of course entitled for such approach, and album has certainly its benefits but most of it is not noise by any means. One could perhaps argue album is something that within several music tracks, there are power electronics type songs inbetween that may have exposed totally new crowd to this sound? To me it sounds almost like situation would one consider SPK "metal dance" as remarkable breakthrough for power electronics? Musically Bermuda Drain has several tracks that have way more Metal Dance approach - with exception of screamo vocals. I have never heard anyone claim that single or following album would have taken things to next level, but becoming something else?
As result, I suppose artist became bigger and bigger, and could perform in bigger venues and fests - and I believe he didn't hold back on how brutal sets could be? That would be interesting element.
There is the element of regional importance. Wolf Eyes and such, as big they were, I remember talking with some european industrial-noise people and they being "wolf... who?". Big for noise. Big for indie rock. Big for indie media. All those valid points for sure, but in canon of power electronics, I would certainly think Pleasure Ground (and history of aids) probably would stand as something that made its mark also within genre itself. I would say after Pleasure Ground came out, it had some genre changing impact. Design, sound, etc. Next PE things you'd hear coming following it, you could hear artists who "sound like Prurient" (and often referring this album), look like his asthetics, and topics they deal with appear like they certainly would be more "Hospital" than "Come org".
Bermuda Drain certainly doesn't feel or sound like a PE/Noise album. It's certainly a great album, but feels more like a Prurient meets Vatican Shadow type of release with the more electronic synth vibes, definitely sounds more "musical" I've always liked that about Prurient, sometimes you don't know what your in for always. I ordered the new Prurient - Class Ring tape box today and listened to some of it on the Hospital Productions Bandcamp and thought the material was more rooted in dark ambient, rather than PE/Noise and again it's another one of those strange types of Prurient releases that drifts away from noise again, but I thought the concept and art for this new one was quite brilliant and looking forward to the tapes coming.
Definitely. What I like mostly about Prurient is its unbridled musical ecletism, one that doesn't sound pretentious and inorganic, but rather maniphests a profound connection with what Noise/PE (and other kinds of music) is about. Personally, I dislike the darkwave synth approach of Cocaine Death, Bermuda Drain and the like. For me, his first four full-lengths are masterpieces, alongside the first demos and splits (take Shipwrecker's Diary or Magnified Healing). But still, even as Dominick flows into the mainstream by incorporating more musical elements onto his (heh) music, with BD and FNF being praised on the Pitchforks of the Internet alike, and releasing a three hour masterpiece of dark ambient blended with experimental noise (Rainbow Mirror), he spawns a behemoth like Garden of the Mutilated Paratroopers: traditional PE dynamics and structures, minimalistic vocal domination, layered upon harsh noises aestheticizing the darkness of war with such craftmanship that none of the almost 20 songs sound generic or formulaic; on the contrary, each is different than the other. To me, it comes from a person with a personal experience of the pessimistic affliction of Power Electronics, even if criticized for his music (which is something people have the right to).
Oh, but before Garden (I wonder why gardens have such importance to Dominick), he releases a Tesco-like Industrial deathdrive unleasher that is Casablance Flamethrower. Absolutely amazing. Creationist goes back to the more ethereal, psychedelic-like, calmer side of Prurient; and then Cain and Abel S/M brings the serial killer worship to the table without sounding anything like SJ or Deathpile. Rather, it sounds to me like a mix between, say, GotMP and Troubled Sleep. The latest one, focusing on JWGacy, feels more ambientish and mellower than the latest, but maintains the unique approach. All in all, a truly admirable musician.
We could prob do with a Prurient thread but will add my thoughts here for now. FNF is peak Prurient for me, I think it's an amazing record. I've been much less interested in what he's done since although apparently I need to revisit Casablanca Flame Thrower. This year though, I think he has been on a real hot streak. The collabs with Agonal Lust and Linekraft are excellent and Destroyed Electricity is prob my favourite full length since FNF. The more melodic almost "power ambient" sound really suits him.
Back on topic: How do people feel about Sound of Sadism as a canonical release? I'm not that knowledgable about PE specifically but I picked this up from Hospital in a sale a while back. The original CD was 1000 copies and it got a LP reissue through Hospital. Tracklist has heavy hitters like Deathpile, Taint, Atrax Morgue, Con-Dom etc. Interested to know how this is viewed by the community.
None of the better-known Prurient albums are, or have parts that are exceptionally well-made power electronics. The main characteristic that makes Prurient unique in my mind is Dominick Fernow's combining multiple styles that normally don't feel close in ways that are intuitive.
A few additions I will nominate:
1996 - Militia - New European Order 2x LP - Conceptually pushing the boundary of power electronics into a more straightforward political leftist realm and relying on acoustic percussion before acts like Prurient (Black Vase) would explore it.
2007 - Sistrenatus - Division One CD Pushing elements of power electronics further into cinematic and death industrial realms featuring high quality sound design and production.
2008 - Human Larvae - Home Is Where The Hurt Is CD - Issuing in a new era of power electronics expanding on the style set forth by NTT but dipping into death industrial and wall noise territories.
2012 - Sutcliffe Jugend - Blue Rabbit CD - First known exploration of "quiet power electronics" where typical pe concepts and lyrical content appears over electroacoustic atmospheres and marking a new shift for the legendary project.
2019 - MZ.412 - Svartmyrkr LP - Blending power electronics with martial industrial layering and militant rhythms to further push what may be considered PE or at least elements of power electronics.
Quote from: xdementia on September 12, 2024, 09:05:24 AMA few additions I will nominate:
1996 - Militia - New European Order 2x LP - Conceptually pushing the boundary of power electronics into a more straightforward political leftist realm and relying on acoustic percussion before acts like Prurient (Black Vase) would explore it.
2019 - MZ.412 - Svartmyrkr LP - Blending power electronics with martial industrial layering and militant rhythms to further push what may be considered PE or at least elements of power electronics.
I would have thought the Militia was just 'industrial', rather than power electronics - and carrying on the Test Dept. and Neubauten tradition? As for Mz.412, hadn't they already done that on "Nordik Battle Signs"?
Quote from: xdementia on September 12, 2024, 09:05:24 AM2012 - Sutcliffe Jugend - Blue Rabbit CD - First known exploration of "quiet power electronics" where typical pe concepts and lyrical content appears over electroacoustic atmospheres and marking a new shift for the legendary project.
Yea, I'll back this suggestion. Didn't sound like a lot of other material at the time, at least in my experience and as far as I recall now. Not exactly Death Industrial but something a little different, a little newer, I though anyway. I think you can hear the influence of this sort of thing in later projects like She Spread Sorrow.
And just looking back over this thread to see if it's been mentioned before, and from a quick squizz it looks like it hasn't, I reckon Will Over Matter deserve a guernsey. Maybe "Lust for Knowledge" or "Might of the Planet Eater". "Lust" has one of my favourite WOM tracks, "Blades Sharpened" on it, so that's my bias admitted (and the track before it, the first one, "The Enemy Collector", is pretty damn unique sounding in my book. "Many enemies bring much honour!").
Mentor really has done something different with this project and I believe it deserves canonical recognition.
I would like to add FFH "Make Them Understand" to this. Similar to Deathpile "G.R." this was a watershed moment in US power electronics and has really grown in legend since it came out. It's highly sought after and could really use a reissue, it definitely would do well.
Quote from: Andrew McIntosh on September 12, 2024, 01:48:13 PMQuote from: xdementia on September 12, 2024, 09:05:24 AM2012 - Sutcliffe Jugend - Blue Rabbit CD - First known exploration of "quiet power electronics" where typical pe concepts and lyrical content appears over electroacoustic atmospheres and marking a new shift for the legendary project.
Yea, I'll back this suggestion. Didn't sound like a lot of other material at the time, at least in my experience and as far as I recall now. Not exactly Death Industrial but something a little different, a little newer, I though anyway. I think you can hear the influence of this sort of thing in later projects like She Spread Sorrow.
I don't follow SJ with much dedication, so I've only heard this album a single time. The vocals, dramatics, and overall dark and brooding vibe had me thinking of Contrastate, which is of the highest order of compliment, while also having me scratch my head about only going to it once. Some of the organic acoustics (dried woods and stones?) had me in that JGrzinich or Seth Nehil frame too, which is another high caliber association.
The first Macelleria Mobile di Mezzanotte "Profilo Ottimale delle Ferite" came a few days ago to my mind. Released in 2001, it's their first and only industrial output before switching toward a cinematic / avantgarde direction (which is still sometimes good, sometimes less, still interesting). I consider this one a little milestone in the italian industrial underground, taking up the thread of the italian "giallo" atmosphere and mixed with the morbid aura of Atrax Morgue, Mauthausen Orchestra, etc..great record, for sure the best they (at the time the project consisted, if I remember correctly, of only Adriano) did.
Quote from: prelapsus on September 10, 2024, 10:00:23 PMBack on topic: How do people feel about Sound of Sadism as a canonical release? I'm not that knowledgable about PE specifically but I picked this up from Hospital in a sale a while back. The original CD was 1000 copies and it got a LP reissue through Hospital. Tracklist has heavy hitters like Deathpile, Taint, Atrax Morgue, Con-Dom etc. Interested to know how this is viewed by the community.
That was always one that for whatever reason I felt didn't live up to what it should have. Which might just be that a few of the names on there, while being well regarded generally, never did much for me. But even with the projects I liked, I had this feeling that, contra the title, they were holding something back. The counterargument, though, is with those aspects, I always felt it would work as a good intro to the genre for those curious about it.
If nothing else, the fact that it got an LP reissue proves it was well thought of, so its worthy of consideration.
Some other comps from around that era that might merit inclusion: Estheticks of Cruelty on Cold Meat, and the massive Don't Hunt What You Can't Kill on L-White, which is pretty much a Who's Who of the big names at the turn of the millenium, with many still going strong.
Quote from: Zeno Marx on September 13, 2024, 12:26:07 AMQuote from: Andrew McIntosh on September 12, 2024, 01:48:13 PMQuote from: xdementia on September 12, 2024, 09:05:24 AM2012 - Sutcliffe Jugend - Blue Rabbit CD - First known exploration of "quiet power electronics" where typical pe concepts and lyrical content appears over electroacoustic atmospheres and marking a new shift for the legendary project.
Yea, I'll back this suggestion. Didn't sound like a lot of other material at the time, at least in my experience and as far as I recall now. Not exactly Death Industrial but something a little different, a little newer, I though anyway. I think you can hear the influence of this sort of thing in later projects like She Spread Sorrow.
I don't follow SJ with much dedication, so I've only heard this album a single time. The vocals, dramatics, and overall dark and brooding vibe had me thinking of Contrastate, which is of the highest order of compliment, while also having me scratch my head about only going to it once. Some of the organic acoustics (dried woods and stones?) had me in that JGrzinich or Seth Nehil frame too, which is another high caliber association.
Oh, thanks for the reccomendations! I have yet to listen to Contrastate, which is a project I strongly value based solely on what I've read about it, but didn't know the other artists mentioned. It is hard to keep up with everything Tomkins and Taylor have been releasing for the past two decades (I mean, shit, don't they ever rest? Each time I find out about a new release I remember the one I still need to listen to).
Sutcliffe Jügend – Blue Rabbit (2012)Guess I've already written on some thread about how Blue Rabbit is a cult-classic for me, yet with little to none influence on further artists within the zone. Not that I've heard of. And of course, you got plenty of Electroacoustic experimentation being crafted really well, but nothing that actually sounds like it was influenced by afromentioned album. Maybe 'tis me to release such music when I can.
I believe that good music has a unique quality of sounding fresh even after thousands of listens, and that's exactly how I feel whenever I blast any of the Whitehouse albums from Great White Death onwards (except for Peter Kürten). For me, they're unparalleled and genuinely the best power electronics project out there. There are other albums that evoke a similar feeling, but not as much with SJ. In my view, most of their albums feature a mix of really great tracks alongside some weaker ones, which disrupts the overall experience—though Death Mask, and of course, Blue Rabbit, are exceptions. Blue Rabbit is perfect: a surreal blend of electroacoustic exploitation that feels like a dream (or perhaps schizophrenia), unlike anything else. It definitely has tracks with a similar vibe—"Death of a Post-Christian Humanist" is a masterpiece—but the experience of listening to this album for the first time was unmatched. I remember being awake at 5 a.m., smoking because I couldn't sleep, when "Solace" began. It was such an experience that I couldn't believe what I was hearing.
That being said, since the goal of this thread is not just to gather opinions but to keep the canon true, maybe Blue Rabbit doesn't belong here at all. I don't think it's due to its volatility. It might seem logical that fans of academic musique concrète wouldn't be interested in serial-killer-worshiping maniacs experimenting with a vast range of styles—or vice versa, where fans of traditional noise and analog recordings see modern Whitehouse and SJ as mere 'techno' laptop acts. On the contrary, it seems to me that there's significant acceptance for the incorporation of different musical styles within the scene. So, it's strange to me, even though this release has received a lot of praise. Perhaps, as time goes on, we'll see if it becomes a cult classic.
Sutcliffe Jugend has always been one of those projects that I've never been that interested in from the very beginnings, but developed a stronger appreciation in the later part of their discography. I think the best Sutcliffe Jugend album was The Hunger double CD. I like the more dark ambient/experimental approach with that material and I'm sure the Blue Rabbit album was a template for that style to come. I think if Sutcliffe Jugend wasn't Sutcliffe Jugend, I'd think most noisers could give a shit about what new material is presented now, but fortunately or unfortunately, to whom it may concern, I think Sutcliffe Jugend has developed it's name beyond a cult appreciation to a place of "can do no wrong" to those mildly interested. Not sure if that's a good thing or a bad thing, but for my own selfs opinion, I think new Sutcliffe Jugend material is far more interesting than the beginnings.