Industrial music vs. real life

Started by ImpulsyStetoskopu, May 06, 2016, 11:11:22 AM

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Bloated Slutbag

To put it country simple: the power of industrial music to change our reality is probably not limited to what is supposedly going on in the here and now.
Someone weaker than you should beat you and brag
And take you for a drag

GEWALTMONOPOL

I am in complete agreement with you there, chief. Nothing probable about it.
Först när du blottar strupen ska du få nåd, ditt as...

cr

Hm, many interesting, thoughtful and serious posts here. But maybe too less which relate to original questions -
Quote from: ImpulsyStetoskopu on May 06, 2016, 11:11:22 AM
How do you think, has industrial music (noise, pe, postindustrial etc.) changed our reality, art, culture and people? I don't mean mainstream, only the micro world in which we are living. If so, what exactly?

I must admit, I have to put some thoughts together first for myself and struggle with my not so good English, but then I will try to give my impression and opinion.

Fluid Fetish

#63
Everything I'm interested in, invest time into, sacrifice for, strive for, everything ties back into this polestar that my life revolves around that is an exploration and study of the beyond. Noise/PE has influenced me just as EVERYTHING does between the interaction of microcosm/macrocosm in the human psyche , I never pursued music on a trivial social basis or even in a social context of any kind (outside of trading, posting on forums occasionally, going to concerts) as NO ONE I know is into noise or industrial or other underground genres period. Having said that, noise/pe lured me into its waiting arms with it aesthetically and audibly revolving around several of my already existing fetishes/obsessions such as transcending thresholds and limitations, extreme/deviant sexuality, death, and chaos. Much like how I was drawn to black metal as a kid, the art both through visual and audio manifestation reflected and fed my already current obsessions. In many instances it REALLY fed them....I'm sure many will laugh at me for this but admittedly when I was younger I can definitely say that my fascination with prostitutes and violent sexuality was fed and fostered by listening to Taint at a ripe age and undoubtedly influenced my sexual behavior both consciously and unconciously. Did I pursue these things because of my interest in noise? No. It certainly was a factor in some sense though.

Regardless, for me art in all forms reflects deep underlying truths about the reality of existence, and something as powerful as that will influence your perception, your internalization of information, and your experience of reality as a whole whether you choose to recognize it or not, and in ways that are both obvious and at their utmost subtle.

To say that people identify with the music in any way in a subcultural context to me is absurd. I had a friend at one point asking if members of a particular band were as crazy in real life as they were rumored to be. To me that triggered a reflection of my own life....where I was obviously never striving to fulfill a subculture or counter culture based image in order to satiate my human existential/identity crisis but instead I was always indulging and chasing after my obsessions, usually at GREAT risk to my personal life, my finances, my freedom, my personal safety, my mental stability....a lot that I was willing to sacrifice in order to experience or explore at all costs. Music, art, industrial kind of reminds me of this....this is why there is no drug culture or a lot of the other usual tropes with PE/NOISE as it seems to not only transcend this normal cultural traits/traditions  in a lot of ways...despite the fact that PE has cliches like any counter culture I'm aware.

*Edited to try and make my rambling nonsense slightly more coherent.

Bloated Slutbag

Quote from: GEWALTMONOPOL on May 13, 2016, 06:35:54 PM
I am in complete agreement with you there, chief. Nothing probable about it.

Don't suppose that means we'll be spared further wingeing about a bunch of geezers failing to live up to standards set 35 years ago?

ps don't mind me, I'm just a tad disappointed to learn that Unrest has no intention of taking on Shakespeare. "To be or not to be JUST LIKE A CUNT... no that is not a fucking question!" (Just thought I'd give it the old college try there...)
Someone weaker than you should beat you and brag
And take you for a drag

Johann

I don't think it's changed very much for me personally. Listening to noise has helped develop my ear to hearing/appreciating the sound world that shapes our world. I'd agree with kettu that the appreciation for certain sounds makes certain kinds of work seem extremely appealing (such as cable layer, dock work etc) but again I don't know if I could attribute that specificly to industrial, as I think I've always been interested in work that is both psychically and emotionally challenging. My appreciation for sound world began with a high school interest in photography and a desire to fragment the enviorment to make my reality more abstract.

That said I've never had any specific interest in belonging to a clique or cultural stereotype. Even when I was a young skateboarder the absurdity of covering shit in patches or cutting my hair in some goofy fashion never appealed to me. I think I'm drawn towards acts when the individual is simply representing themselves or something more environmental (ex. Hands To, Rudolf E.ber, Jaako Vanhala, Con-Dom etc) than I am to so called wp, serial killers and sexual abuse. I appreciate it in its historical context of com org (most of which was pretty funny) etc and greatly enjoy that stuff but couldn't be more bored with contemporary uses of the same themes.

I think like every form of music there is to many people that dive in head first and adopt the whole word as bond. I've noticed this especially on fourms, and I personally would like to see a little bit more free thinking individualism than the same old "transgressive" themes and another bad xerox zine dedicated to xxx themes
with lame collage art that hasn't changed in 30 years.


icepick method

Well i became a machinist, so there's that...
Industrial-noise zine archive http://shock-corridor.blogspot.com

calaverasgrande

Well I grew up in the ignorant depressing deep south full of rednecks. I resented and hated the mulleted Camaro jockeys that I was sure to join when I crossed through adolescence.  When I found Punk Rock I thought I was home. Here was a place for losers, misfits and nerds like me.  Except after a while I realized, I liked the people, but the music was boring and conservative.
One year I saw a punk rock band from San Francisco, "Flipper". Later I also saw this funny TV show called Night Flight.
Flipper was the only interesting punk act I ever saw. They weren't trying to be macho, aggressive or political. They just spewed nihilism and heavy weirdness.
Night Flight was a 4 hour long mini MTV which played on the USA network. They introduced me to "New Wave Theatre" and Some Bizarre. This was where I found out about Einsturzende Neubauten, Cabaret Voltaire, Skinny Puppy, Throbbing Gristle, Killer Pussy etc.
Oh, so there is a scene that is doing something besides spiking the hair and buying fancy leather.
At some point there was a punk rock record store called "Toxic Shock" which opened in my hometown, New Orleans. They started out west someplace, and this was their expansion into the southeast. Lord knows why. They were a goner in a couple years. However the owner of that shop introduced me to all kinds of aberrant bullshit. Swans, Nurse With Wound, DAF, and some funny guys from SF, Negativland.

This all influences my life in a lot of ways. 
Primarily it convinced me that making music which did not 'rock' and was not 'dancey' was valid. That I did not have to buy into a genre to play music. A lot of people my age or older seem to say the same thing about the "Sex Pistols" or "Ramones" in that regard. But they were still rock and roll bands. Playing guitars, basses and drums. With fucking guitar solos.
Hearing early industrial, experimental and electronic acts that eschewed traditional 'songs' and instruments gave me courage to think the silly stuff I did with tape dubbing and a few cheap instruments could be valid.

There are a few recurring threads in this discussion I don't agree with.
I do not think that Industrial is inherently misanthropic. Most people I have met in the sparse industrial scene are pretty nice. Sure a lot of them are on drugs and some can be prima donnas. But overall they are people who are bookread, have their act somewhat together, and are conversational.

I also don't get the whole left vs right bullshit. In my experience the Industrial scene, whether it was tape traders, clubs like House of Usher, or bands in general are apolitical. This has allowed a lot of people to go off in a lefty direction as bands like Test Dept, Babyland and arguably SKinny Puppy. Or to grow a quasi-fascist scene as it seems that a lot of the neo-martialist acts have.
Frankly I think the baby-fascists are just misinterpreting Laibach and other similar acts.

Personally I think the left right paradigm is stupid. I don't think being liberal about everything is smart, or being conservative about everything is clever either. Overly simplistic.

Kim V

Quote from: theotherjohn on May 07, 2016, 03:06:07 PM
The irony of course is that industrialism (i.e. the non-music side) as a concept is inherently structured with protocols.

To the point...
you're just a victim of yourself

ImpulsyStetoskopu

Quote from: calaverasgrande on June 01, 2016, 07:22:35 AM
I also don't get the whole left vs right bullshit. In my experience the Industrial scene, whether it was tape traders, clubs like House of Usher, or bands in general are apolitical.


Having any world view mustn't be politics declaration. I think that the largest problem in modern art (including industrial music) ist its void of ideology, lack of views in any case, lack of rebellion... If there isn't any rebellion in artist's mind, how we may expect something interesting in music? Should we satisfied to hedonistic, fetish sound of noise only? It isn't enough for me and I demand much more than this fetish..

Bloated Slutbag

In my quest to flog infinite iterations of the same shit, one such iteration will say that the exercise of politics would have to fall within the scope of fetish- even (and especially) in its most extreme indulgences. So my read of your wish is for something beyond the easily dismissed "harmless fetish". The fetish of your heart's desire is the one for which harm is (ever) clear and (ever) present. This may be contrasted with the "normal" course of "real life", for which harm is (ever) present but quite - not unconsciously - obscured (reduced, say, to a community of persons with so-called "special interests").

Damn. And mama always said I was special...
Someone weaker than you should beat you and brag
And take you for a drag

calaverasgrande

Quote from: ImpulsyStetoskopu on June 01, 2016, 11:43:19 AM
Having any world view mustn't be politics declaration. I think that the largest problem in modern art (including industrial music) ist its void of ideology, lack of views in any case, lack of rebellion... If there isn't any rebellion in artist's mind, how we may expect something interesting in music? Should we satisfied to hedonistic, fetish sound of noise only? It isn't enough for me and I demand much more than this fetish..
I do appreciate artists that have an agenda. I think one of the worst things about art, music, writing etc is an utter lack of attempt to communicate, and in cases where communication is not a goal, lacking even an artistic belief or rigorousness.
In the noise scene I see this manifest as a lot of directionless knob twisting. Compared to acts I recall seeing in the 80's and 90's that could inspire fear, revulsion or feelings of transgression in even the most jaded crowd.
However, I find it very mundane when someone comes at me with a top to bottom Left Wing or Right Wing ideology.  This displays an inability to think critically or to think independently.  One of the things that drew me into Industrial was that it ridiculed doctrinaire rigid thinking.
Many artists have mined to great effect the humor to be found in juxtaposing left and right signifiers.
Unfortunately, it seems that when removed by a decade or two, audiences do not appreciate the irony.