Power Electronics is Dead.

Started by Bigsby, June 07, 2024, 11:01:56 PM

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Atrophist

Quote from: xdementia on August 09, 2024, 08:23:55 PM
Quote from: snakeradical on August 09, 2024, 04:51:58 PMPE is better than ever
Some new some not so

Awenydd
Phenol Injection
Makt
Young Hustlers
Perstrepo
No Guard
Sonic Abuse / Hate Sermon / Inbred
Death Shape
M.I.A
Opulent Adversary
Cockfodder
Abscheu
Bøltorn
Disgusting Sanctum
Wonderland Club

I've heard a bunch of these and many did nothing for me. As I get older I guess I have a philosophy where if one artists sounds too much like another better artist I think - why listen to this when I can just listen to the better more classic artist?

Welcome to middle age. The reaction of "oh this is just X, Y or Z all over again" is much a part and parcel of it as nose hair trimmers and comfortable (as opposed to fashionable or badass looking) footwear.

snakeradical

guerilla selvatica
cov ops
heretic grail
bespoke decay
expensive tastes
misery engine
necroviolence
iron destiny
sarin snow
striations
reaper
depravar
white weapon
totenrune
no nation
detonation day
black maghreb
blodskam
NIT
support
adolphobitch
eradication call
heydrich

if u dont like new PE can always check pink floyd

Moran

#92
Quote from: Bigsby on August 07, 2024, 06:17:05 AM
Quote from: Moran on August 07, 2024, 12:23:18 AM
Quote from: Bigsby on August 06, 2024, 11:04:15 PM"Zyklon SS' Racial Superiority is the best power electronics album I listened to from the past five years."

I think the conversation could be if "it's not ours anymore" is that b/c someone like ZSS clearly  doesn't get it or b/c SJWs or antifascists just don't get it? The former has zero sense of irony nuance humor art or innovation. The latter can't separate art from artist.
Even if you think Zyklon SS "doesn't get it" there are many other artists in the genre who make music with "irony nuance humor art or innovation", so how could the genre not be "ours" because a small number of artists among many make music in a way you disapprove of? The binary framing of your question wouldn't help reveal much about why "it's not ours anymore" (assuming "it's not ours anymore" for whatever reason) since the actions of "SJWs" and people like Zyklon SS are often interrelated.

I actually agree w/ this. But you see my distinction between a fictional film and a documentary w/, for example, racist intent? The difference between Solotroff and Brethren? Between exploration and demonstration?  I think ZSS et all have entirely missed the fucking point of PE.
Aside from historical reasons, why would irony be necessary for a power electronics artist to "get it"?

BatteredStatesofEuphoria, Kaaoskultti, thanks for the Gnaw Their Tongues recommendations. They're good.

xdementia

Quote from: Atrophist on August 10, 2024, 04:36:37 PM
Quote from: xdementia on August 09, 2024, 08:23:55 PM
Quote from: snakeradical on August 09, 2024, 04:51:58 PMPE is better than ever
Some new some not so

Awenydd
Phenol Injection
Makt
Young Hustlers
Perstrepo
No Guard
Sonic Abuse / Hate Sermon / Inbred
Death Shape
M.I.A
Opulent Adversary
Cockfodder
Abscheu
Bøltorn
Disgusting Sanctum
Wonderland Club

I've heard a bunch of these and many did nothing for me. As I get older I guess I have a philosophy where if one artists sounds too much like another better artist I think - why listen to this when I can just listen to the better more classic artist?

Welcome to middle age. The reaction of "oh this is just X, Y or Z all over again" is much a part and parcel of it as nose hair trimmers and comfortable (as opposed to fashionable or badass looking) footwear.

I honestly see it as a positive thing. I've heard and experienced so much amazing music I don't spend time listening to stuff that is just "good" or less than that anymore. Unless I'm checking out new music I'm only listening to stuff that I consider "great" and it feels awesome. I still check out TONS of new stuff but probably only 10% of is actually great. No time for stuff that is just "good" anymore.

I wouldn't describe it as a case of being "jaded" but more a case of being much more discerning than I was in the past.

FreakAnimalFinland

#94
I think it was discussed before, but maybe not in this topic? It often seems, that people getting older, they spend perhaps less time with music. Work, family, whatever other things they have in life, suddenly find themselves with perhaps former collection of thousands of releases in shelves, but realistically listen only one record a day, or even one in week... or month. Whole notion of "new music" becomes quite obsolete, if you are no longer listening even your absolute favorites.

Some people, like myself, who may be listening probably 30-40 hours a week minimum, have plenty of time to check out new releases. To spend couple thousand hours listening just the undisputed classics would not be very inspiring for me.

Just last weekend at the Harsh Ways Fest, I mentioned that I don't listen to Black Sabbath... nor Metallica, nor Iron Maiden. With exception of 1 CD, all Slayer been weeded out from collection. "What's wrong with you?" was the question what appeared. haha. But it really is that I prefer to hear the bands these bands that were influenced by these, doing it more rugged ways, than sticking on the undisputed classics. With noise, it is not exactly like that. I do listen the classics too, but listening guaranteed genre defining classics is different thing than checking out the less appreciated smaller names and newcomers that inspire in different ways. Especially it makes it clear how this is absolutely not about nostalgic emotions, and re-living the youth.
E-mail: fanimal +a+ cfprod,com
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DLM

POWER ELECTRONICS IS DEAD.

HAIL FRAILTY ELECTRONICS.

xdementia

Quote from: FreakAnimalFinland on August 13, 2024, 10:07:19 AMI think it was discussed before, but maybe not in this topic? It often seems, that people getting older, they spend perhaps less time with music. Work, family, whatever other things they have in life, suddenly find themselves with perhaps former collection of thousands of releases in shelves, but realistically listen only one record a day, or even one in week... or month. Whole notion of "new music" becomes quite obsolete, if you are no longer listening even your absolute favorites.

Some people, like myself, who may be listening probably 30-40 hours a week minimum, have plenty of time to check out new releases. To spend couple thousand hours listening just the undisputed classics would not be very inspiring for me.

Just last weekend at the Harsh Ways Fest, I mentioned that I don't listen to Black Sabbath... nor Metallica, nor Iron Maiden. With exception of 1 CD, all Slayer been weeded out from collection. "What's wrong with you?" was the question what appeared. haha. But it really is that I prefer to hear the bands these bands that were influenced by these, doing it more rugged ways, than sticking on the undisputed classics. With noise, it is not exactly like that. I do listen the classics too, but listening guaranteed genre defining classics is different thing than checking out the less appreciated smaller names and newcomers that inspire in different ways. Especially it makes it clear how this is absolutely not about nostalgic emotions, and re-living the youth.

I am much more the latter than the former here. I'm constantly listening to new stuff. And I think whittling down classic band's albums to "only the essentials" is the way to go unless it's a band that you especially love.

Here's a great example of a new PE release that is totally solid but in the end just feels like it's retreading on familiar territory - no need to add this to my collection https://perstrepo.bandcamp.com/album/forces-of-hate

xdementia

And if you think about it... it makes total sense that most projects won't rise above just being "average". There's a reason why groundbreaking and/or classic releases are as such. Because they don't come around everyday, they are rare.

If one wants to spend their time just listening to average or even "good" but not "great" music one is entitled to do that. But the fact that it's possible to only own/listen to absolutely excellent material and nothing less motivates me to do just that. With the exception of checking out new music which I think is something any true music fan must put some time and effort into doing in order to find the next best thing.

Moran

#98
There seems to be less publicly visible meaningful interactions (like feedback, reviews, and sharing and developing ideas) between listeners, artists, label operators, etc., now compared to what I read about ten to thirty years ago (I guess partly because of the isolating effects of current variants of social media and instant messaging). Maybe there's a lot happening in private. The apparent dearth of such interaction between the people involved in the genre other than those who've been doing power electronics for many years could be related to the imitative quality prevalent in new acts that some consider a symptom of the genre being stagnant or "dead".

I've been listening to Hounding's Hellscape Realism released by Fanalstatt often this week. Its sound and themes are original while being clearly connected to the common qualities of power electronics.

Krigsverk

Quote from: xdementia on August 22, 2024, 12:30:01 AMHere's a great example of a new PE release that is totally solid but in the end just feels like it's retreading on familiar territory - no need to add this to my collection https://perstrepo.bandcamp.com/album/forces-of-hate


Thanks for the tip! I do see/hear what you mean here, it is not a new milestone of the genre, but that classic territory needs to be retread a lot more if you ask me... there is not enough of it. Love this stuff.

Phenol

Some thoughts on classics vs. new stuff: What is a classic to some, might not be for others. A lot has to do with timing and experience. When hearing Whitehouse (Dedicated to Peter Kürten was my first album by them) for the first time, f.ex., I was utterly dissappointed. I had read about them and expected it to be much wilder than it was. At that time I had already listened to Atrax Morgue, Masonna etc. for years, so nothing Whitehouse did was even remotely shocking and many outdid them on  most parameters. So classics for many, but not for me. If I was 10 years older, it's very possible I would feel differently about them.

What becomes a classic may just be about hitting the right people at the right time. To me Prurient and the whole Hospital thing was never really anything of note, but it struck a chord with a lot of people younger than me, so who am I to argue? Maybe if I was 10 years younger, it would have hit me differently?

The point is that it's completely possible that someone might like something new better than what any of us might regard as a genre classic, and that what any of us may regard as "solid" or "just good" right now may be the best and most meaningful record ever for someone else and may even become a classic in the future. I don't think the early GO releases were that well received when they came out, f.ex. and I know many old industrial fans who still see them as derogative and not particularly original, but to me and many here they're absolute genre classics...

HateSermon

Quote from: Phenol on August 23, 2024, 03:48:21 PMThe point is that it's completely possible that someone might like something new better than what any of us might regard as a genre classic, and that what any of us may regard as "solid" or "just good" right now may be the best and most meaningful record ever for someone else and may even become a classic in the future. I don't think the early GO releases were that well received when they came out, f.ex. and I know many old industrial fans who still see them as derogative and not particularly original, but to me and many here they're absolute genre classics...

I was just thinking about that the other day. Take Leichenlinie, for example. A fucking classic in my eyes. But what was the perception when it came out in '89? Maybe one of the older heads on here can reflect on that.

Krigsverk

Oh, Leichenlinie was mindblowing when it came out, and still is. One of those top 5 albums of all time regardless of music style for me. Not a weak moment on the whole thing. Klaus Barbie is also the best "industrial" track ever done in my books.

Cranial Blast

Quote from: Krigsverk on August 23, 2024, 06:50:34 PMOh, Leichenlinie was mindblowing when it came out, and still is. One of those top 5 albums of all time regardless of music style for me. Not a weak moment on the whole thing. Klaus Barbie is also the best "industrial" track ever done in my books.

I agree, timeless and indisputable classic!

unheimlich

#104
Quote from: FreakAnimalFinland on June 08, 2024, 09:06:06 AMIt appears that such claim is usually made by people who have feeling that may be either "it is not what it used to be" or "I am not entertained!".
In both cases, tends to be moment of needing to look into mirror. Something that is alive, won't stay exactly same. We may see it belongs to same lineage, but expression is probably slightly different. If this different is not what one is looking for and therefore feels they are not entertained... It may be time to address what is actually dead, hah.

Like when you see aged businessmen declaring punk is dead, while you got youngsters at squat playing hc shows... or Black Metal dudes crying how all is safe and clean now, when their experience of BM is via spotify and IG. A lot of things may be in state of decay, sure, but grown men expecting others to deliver again their teenage years emotions... appears to be most common situation.


This reminds me of a situation where I was young and getting arrested, and the police had just rummaged through my library in my trailer... this cop told me "you know anarchy died in 1985"


I think the dynamics and theater of power and control have reached very interesting territories, and additionally the mass despatialisation of culture towards social media has actually created a stronger potential space outside of it for what noise culture has always done, tape trade, zine, diy, flyer.
The digital gentrification of the underground has an inverse effect similar to what michael taussig talks about in "defacement" where the desecration of something can liberate its inherent sacred qualities. Meaning in a world dominated by political correctness, censorship, deplatforming, algorithms, simulations.
There's an empty space for authentic exploration of topics concerning extreme genres such as PE etc that by their very nature are verboten across corporate platforms.


On the other hand there's always going to be purely derivative works that are relatively impotent and projects that have moved towards caricatures of themselves.