"industrial" successfully blended into music?

[FreakAnimalFinland]

I remember when I first heard tracks from Anita Lane "dirty sings" from radio. This is a girl that has done lyrics for Nick Cave, collaborated with E.Neubauten etc. Mute published this 12" back in 1988, and it was featured as bonus tracks on his debut full length CD and tracks also used on Ghosts of Civil Dead movie (starring Nick Cave). I was blown away. Even if it was times of my die-hard metal years and full blast noise, I had just couple of these tracks dubbed from radioshow to tape. After some months, managed to get local library to get the CD from libary of Helsinki and dubbed whole thing on tape. This was in 1993.
Anyways, during the years bought the original CD's and they aren't that special. They're ok, but 3 out of 4 tracks are great. featuring members of DAF, NC & bad seeds, produced by Mick Harvey (birthday party)...

Well, lets just paste what mute says:
Originally from Melbourne, Anita Lane first came to Europe with The Birthday Party and co-wrote, with Nick Cave, some of their most memorable songs - 'A Dead Song', 'Kiss Me Black' and 'Dead Joe'. Her 1992 album 'Dirty Pearl' was a mix of covers, originals and collaborations spanning 10 years. Alongside new recordings made with arranger Mick Harvey (of The Bad Seeds), it brought together her work wih Einstürzende Neubauten, Blixa Bargeld and Die Haut. It also features the title theme she composed with Bargeld, Harvey and Cave for the prison movie 'Ghosts... Of The Civil Dead'. Anita worked with rogue guitar force Die Haut on their 'Headless Body In A Topless Bar' and 'Head On' LP's and featured on Barry Adamson's soundtrack for Carl Colepaert's celluloid thriller 'Delusion', delivering an arch version of Nancy Sinatra's 'These Boots Were Made For Walking'. She worked with Blixa Bargeld when she wrote the lyrics for the English language version of 'Blume' from Einstürzende Neubauten's 'Malediction' album. 'The World's A Gird' single was another collaboration with Harvey and Cave which received widespread acclaim for its wickedly amusing covers of Peter Cook's 'Bedazzled' and Serge Gainsbourg's 'I Love You... Nor Do I' better known as 'Je T'Aime'. Anita ran the gamut of Gainsbourg's back catalogue on Mick Harvey's brilliant albums and singles of Gainsbourg songs sung in English. For 'Sex O'Clock', Anita and Mick realised their dream of making an "avant-garde, baroque Seventies disco album".

Well, I don't want topic of board in general to be about alternative rock, but I'm pretty curious some good examples where "industrial" influences are combined with other music (than modern day metal hybrids). Like in ways of "I'm believer", where rhythm is manual physical percussion in styles of Neubauten or Test Dept, even if covered by melody of instruments and vocals. Or like "A prison in desert" (see myspace:  http://www.myspace.com/anitalaneforfans ) of Ghosts of Civil Dead songs, where machine rhythm and obscure cello tones and ghostly whispering takes music much further than "alternative rock" if you ask me. It is very unfortunate that most of the output of hers is far inferior ...or at least just very different.

I don't much care for actual NOISE used as specialeffect of music, but things like metal percussion, machines, tape loops what basically create whole backbone of the sound. And it happens naturally, not just some gimmick. Wonder if any suggestions?

[P-K]

don't know if this counts,


my dad was into this stuff , and when he came home with this cd i was pretty impressed by it, very heavy guitar, looong buzzing wails, lots of feedbacking, loose song-structure.....gave the impression sound was more important than song....NY also did a pretty weird electronic record years before....

you may laugh now :-)

[Nyodene D]

I think that the first few Xiu Xiu albums are a really good blend of indie pop with a really dark self-hating PE sensibility and lots of tapes, noise, junk percussion and sequencing.  Almost reminds me of a more "femme" Haus Arafna that focused more on pop tunes

[Ashley Choke]

Deathspell Omega's Mass Grave Aesthetics has and almost ambient/industrial part that really add to the track and creates and almost choking environment somewhere mid into the song.....

One of the few successful blending's of "metal" and Industrial IMO. I can't stand all that drum machine Rock 'N Roll ala Revolting Cocks and that wave of Industrial Black Metal Like Mysticum/Blacklodge and the likes really gets on my nerves to

[P-K]

Portishead?

http://www.youtube.com/watch?v=6lg9xAMoFto

[Bloated Slutbag]

I've always been a big Toll fan. Quite an anomaly I feel on Broken Flag. As rough as the material gets, pieces elaborate in a very song-like, even pop-like, fashion, anchored by a kind of relentless rhythmic undertone. Dark, droning, beat-down. Metal hammering, analog wheedling. Deranged shrieking meets impassioned crooning. But never collapsing under all the competing elements. It's easy to draw comparisons but I don't think there's ever been anything quite like it.

[Steve]

Reading the first entry, I can't help but think....Depeche Mode. Not really  (or indeed at all) Industrial, but they took the imagery of machines / metal bashing leather boys et al in to the charts circa 83/84.
Typing this, I now have images of Thompson Twins doing the same. "Labour Of Love" video!

[kettu]

Reading the first entry, I can't help but think....Depeche Mode.

heh, I thought exactly that but I didnt dare bring it up.
im a semi fan and I recently watched synth britannica or whatever it was and it had clips of the guy with the weird teeth throwing little rocks into a metal legboard outside with traffic etc. to record and loop it. I think they also showed were it ended up but I cant remember the song.

maybe anyone intrested in industrial influence on music should watch that document.

[tiny_tove]

there are endless examples in soundtracks. a fashion possibly started by Graeme Revell himself.

I am thinking about the impressive audio-design/OST of Pang Brother's movies such as THE EYE series, or the more famous Silent Hill.

[halthan]

I remember when I first heard tracks from Anita Lane "dirty sings" from radio. This is a girl that has done lyrics for Nick Cave, collaborated with E.Neubauten etc. Mute published this 12" back in 1988, and it was featured as bonus tracks on his debut full length CD and tracks also used on Ghosts of Civil Dead movie (starring Nick Cave). I was blown away. Even if it was times of my die-hard metal years and full blast noise, I had just couple of these tracks dubbed from radioshow to tape. After some months, managed to get local library to get the CD from libary of Helsinki and dubbed whole thing on tape. This was in 1993.
Anyways, during the years bought the original CD's and they aren't that special. They're ok, but 3 out of 4 tracks are great. featuring members of DAF, NC & bad seeds, produced by Mick Harvey (birthday party)...

Well, lets just paste what mute says:
Originally from Melbourne, Anita Lane first came to Europe with The Birthday Party and co-wrote, with Nick Cave, some of their most memorable songs - 'A Dead Song', 'Kiss Me Black' and 'Dead Joe'. Her 1992 album 'Dirty Pearl' was a mix of covers, originals and collaborations spanning 10 years. Alongside new recordings made with arranger Mick Harvey (of The Bad Seeds), it brought together her work wih Einstürzende Neubauten, Blixa Bargeld and Die Haut. It also features the title theme she composed with Bargeld, Harvey and Cave for the prison movie 'Ghosts... Of The Civil Dead'. Anita worked with rogue guitar force Die Haut on their 'Headless Body In A Topless Bar' and 'Head On' LP's and featured on Barry Adamson's soundtrack for Carl Colepaert's celluloid thriller 'Delusion', delivering an arch version of Nancy Sinatra's 'These Boots Were Made For Walking'. She worked with Blixa Bargeld when she wrote the lyrics for the English language version of 'Blume' from Einstürzende Neubauten's 'Malediction' album. 'The World's A Gird' single was another collaboration with Harvey and Cave which received widespread acclaim for its wickedly amusing covers of Peter Cook's 'Bedazzled' and Serge Gainsbourg's 'I Love You... Nor Do I' better known as 'Je T'Aime'. Anita ran the gamut of Gainsbourg's back catalogue on Mick Harvey's brilliant albums and singles of Gainsbourg songs sung in English. For 'Sex O'Clock', Anita and Mick realised their dream of making an "avant-garde, baroque Seventies disco album".

Well, I don't want topic of board in general to be about alternative rock, but I'm pretty curious some good examples where "industrial" influences are combined with other music (than modern day metal hybrids). Like in ways of "I'm believer", where rhythm is manual physical percussion in styles of Neubauten or Test Dept, even if covered by melody of instruments and vocals. Or like "A prison in desert" (see myspace:  http://www.myspace.com/anitalaneforfans ) of Ghosts of Civil Dead songs, where machine rhythm and obscure cello tones and ghostly whispering takes music much further than "alternative rock" if you ask me. It is very unfortunate that most of the output of hers is far inferior ...or at least just very different.

I don't much care for actual NOISE used as specialeffect of music, but things like metal percussion, machines, tape loops what basically create whole backbone of the sound. And it happens naturally, not just some gimmick. Wonder if any suggestions?

Well, now we´re getting into real business, most of the Birthday Partys´s records are just plain feedback with manic howlings of Mr. Cave. Never liked A. Lane,she was a hippie groupie cunt. I was just listening Birthday Party´s "heew-haw"-lp, and thinking that many of these modern day "ultra-rough" pe/noise bands are pretty lame to compared to them. Anyway, Flux Of Pink Indians " the fucking pricks treat us like cunts" is pretty much out of stantards.

[Andrew McIntosh]

Anyway, Flux Of Pink Indians " the fucking pricks treat us like cunts" is pretty much out of stantards.

Apparently that was meant to be their response to Crass's "Yes Sir I Will". I seem to recall an interview where one of Flux's members where basically saying Crass did a noise album, so they "had to" as well. A lot of "The Fucking Cunts Treat Us Like Pricks" (to give it it's correct title) from what I remember was fucking around with the mixing, shifting levels up and down, etc. More, perhaps, in the vein of English psychedelic/experimental noise rock.