Canon of Power Electronics

[Kaaoskultti]

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

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.

[PTM Jim]

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

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.

[FreakAnimalFinland]

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".

[Warfare Noise]

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.

[Kaaoskultti]

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.
(...)
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.

[Kaaoskultti]

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?

[Into_The_Void]

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.

[Cranial Blast]

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 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.

[Kaaoskultti]

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 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.

[prelapsus]

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 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.

[Moran]

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.

[xdementia]

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.

[burdizzo1]

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.


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"?

[Andrew McIntosh]

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.

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.

[Andrew McIntosh]

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.