Rhyme Time Productions ft. Dark Noize - Fog Machine [, Crystal] Albion - Air [, Platipus] Criss Source - Sunrise [, Taaach! Recordings] Committee - Welcome [, Boxed] Kitty Lips - Keep Rockin [, Boxed] Madagascar - You're Beautiful [, Coda Recordings] Mix [, Fluid Records] S] Armand Van The Bushmen - DJ D (5) - Love Parade Volume 6 (CD) Pres. Lost Tribe - Gamemaster [, Jive] Leftfield - 21st Century Poem [, Hard Hands] Terra Ferma - Fire [, Platipus] Deep Piece - Torwart [, Limbo Records] Miranda - Tellus Twin [, M.
ID - 'Crazy In Love' Cascade - Transcend [, UG] Lange - Obsession [, Additive] PvD - Pikes [, Vandit Records] The M. Limit ft. DJ Memet - Go! Sundance - Sundance Sundance '98 Rmx [, React] Taste Xperience ft. E Razor - India [, Boxed] Stone Factory - New Sunset [, Boxed] Hybrid - Altitude [, Distinct'ive Records] George Thompson - Backflash [, Pacifica Recordings] PvD - Travelling [, Vandit Records] K90 - Bombjack [, Telica] Bruce Norris Mix [, Electronic] Alien Factory - Scraper [, Time Unlimited] Tony H.
PvD - Vega [, Vandit Records] Humate - 3. Dave Angel - Psycho Funk [, Jericho] Freefall ft. Chris Zippel - Eternum [, Organic Records] Productions] Skynet U. Mankey - Fire Dub Mix [, Slamm] Dave Kane - Clarkness [, Plastic Fantastic] Chris Zippel - Electeazer [, Organic Records] Art Of Trance - Madagasga [, Platipus] Rmx [, Liquid Rec.
Akira Inc. Wildplanet - Electron [, Warp Records] Pako - Western Approaches [, Majestic Music] Ispirazione - Psalm [, XVX] Planet Perfecto ft. Toni Halliday - Words Qattara Mix Tilt - Invisible Original Vocal Edit Altura - Seven Candles Mix 2 Ocean Wave - Velvet Original Mix Rush - Regret Ocean Wave Rmx Dulux Connection - Let's Beuk Gouryella - Gouryella Kenneth Heuvel - The Hill Travel - Bulgarian Signum Rmx Extended Nylon - New Forest Original Mix Vincent de Moor - Shamu Original Mix Veracocha - Carte Blanche Original Mix Pako - Steel Blue Pink Bomb - Aftershock BT - Godspeed Original Mix Hidden Sound System - Freeze San ft.
Binary Finary - PvD Rmx Mea Culpa - Spiritual Light Taylor - Slide Third Man Mix Andy Ling - Fixation Main Mix PvD - Avenue Dos Deviants - The Present Situation Deepsky - Stargazer X-Cabs Mix X-Cabs - Neuro 99 99 Mix Dos Deviants - Elevate Skynet UK - Open the Floodgates '99 PvD - Spannung High Voltage The Argonauts - Sommertag Dub Mix Vengaboys - Paradise Original Mix Hybrid ft.
M3 - Bailamos Danny Howells Rmx Armin van Buuren pres. Darkstar - See Me Agenda - Heaven Resistance D. Treatment Lost Tribe - Gamemaster Signum Edit Fragma - Toca Me Club Mix Heliotropic ft. V-One - Dead Cities Steve Morley - Shadow of Life Slick Mick - Lecture Southside Spinners - Luvstruck Original Version Argonauts - Fruhlingstag Dub Mix Atlantis vs.
Avatar ft. Miriam Stockley - Fiji Original Shango - Bodyrock Native Mix Evolver - Evolver Majestic Rmx Quintessential - A Day To Remember Deadstock - White Man Kicking Rocks Underworld - Born Slippy Arrakis - The Spice Original Mix Tilt - Children Tilt's Courtyard Dub Jan Johnston - Skydive Original Mix Condor - Sky Moon Mixx Dumonde - Tomorrow Onkel's Brett Mix Ruff Driverz pres.
Arrola - Dreaming Percussion Mix Jonesey - Independance The Stadium Mix Quench - Dreams Original Extended Mix II - Amphetamine Drax Rmx Plastic Boy - Twixt PvD - Mandalay Three Drives - Greece Original Mix Corfu - Snake Charmer Mantra Rmx Dos Deviants - Strange Days PvD - Travelling Pink Bomb ft.
Tracey Cattell - Indica Vocal Mix Veracocha - Carte Blanche Origin Rmx Prototype - Soundpiercing Omni Mix Gouryella - Gorella The Highlander - Dignified Tough Mix Ian Wilkie vs.
Metal Master - Spectrum Minimalism Rmx Microbots - Cosmic Evolution Original Mix Warmduscher 1 - Auf Die Fresse! Dave Angel - Psycho Funk Arrakis - Aira Force Main Mix Luminance - Grace Mark N. DJ Dan pres. Tr Junior ft. Dario G ft. Natious - Amber Silk Mix Mike Koglin ft. IRL] - Part 1 - Southside Spinners - Lovestruck Original Version Miriam Stockley - Fiji Original - Part 2 - Miriam Stockley - Fiji Original [ctd. Natious - Amber Silk Rmx Veracocha - Carte Blanche Origin Mix PvD - Columbia Original Mix F Zone Mix Christopher Lawrence - Renegade TR Junior ft.
Prototype - Sound Piercing Omni Mix Hedonix - Just A Groove Three 'N One pres. Timo Maas vs. Invidious - Collide Mara - One Hamel Implant Rmx Planet B.
Sasha - Belfunk The Persuaders - Mercurial Vox Andy Ling - Fixation Main Mix [ctd. Photonic - Obscure Weekend World Mix Dominion - Ultraviolet Winter Mix Sunset Sky - Sunset Sky Tracy Catttrel - Indica Vocal Mix Dos Deviants - 3Waves - Part 3 - Dos Deviants - 3Waves [ctd. Duke Hopkins - Zodiac HH - Ice Gigolo Rmx Transa - Behind The Sun Prototype - Soundpiercing Omni Mix - Part 4 - Prototype - Soundpiercing Omni Mix [ctd. Disco Citizens Rmx Zone Mix DJ Tandu - Velvet Origin - Yellow Sir Gerry - Alone Vocal Mix DJ Tom Stevens vs.
The Thrillseekers ft. Starfighter - Helicopter Bedrock - Heaven Scent Original Mix Airscape - L'Esperanza Rmx Nylon ft. Mauro Picotto - Iguana R. Bij Picotto Mix Sneaker Rmx Starecase - First Floor Deadlock Original By Picotto Mix Zone-X Rmx Sander Kleinenberg - Sacred Dub Mix Gatecrasher Biosphere [ENG] - Triple Concept - Tonetwister Auto Mix Jon Vesta - Bluestone Lost Tribe - Gamesmaster Signum Edit Robin Scott - Pop. Quiver - She Does Quivver Mix BT - Dreaming Evolution Mix Bill Hamel - Perspectives Expansion Mix Hitch Hiker pres.
Phools Inc. Thomas P. Mark 1 - Adore X Peppersonic - Time To Fly Lambda - New York Da Goose vs. Motorcraft - Eternity Forever En Motion - Truth Pulser Rmx La Forge - Second Contact Nebula - Get Out DJ Hitch Hiker pres. Dulux Connection - Horizon Original Mix Virtua - Universe Of Love PvD - Out There and Back DJ Remy - Pumped Up Multiplicity - Multiply Main Mix Stoneproof - She Does Quivver Mix DJ Hitch Hiker Pres. Ashtrax - Helsinki Pinocchio - Down The Basement Whoop!
In Da Bass Rmx Sourmash - Atlantic Shores Original Mix Airwave - Alone In The Dark Vincent De Moor pres. Emerald - Fly Away Original 12'' Instrumental Peppersonic - Time to Fly Bill Hamel - Perspections Expansion Mix Big Bass vs. PvD - Pikes Inkfish - Silent Surfer Orion - Return Of The Native Sunscreem - Catch Red Jerry Dub Dimorphic - Haunted Strings Mox Epoque ft. Nina - I Feel My Mara - Desanitize Venus Inc.
Opian State - Lincoln Original Mix VDM - No Hesitation Polaris - Addicted Fallout Main Mix Lava - Autumn Megamind Mix Bug - So What Commie Rmx John Rees vs. Drivenchild - Bang Theory Original Quote - Outstanding Southside Spinners Rmx En-Motion - Truth Pulser Rmx Bleachin' - Bleachin' Hybrid Mix Bill Hamel - Perspectives Expansion Mix cont.
Body-Shock - Sleepless Medway - Release Yves Deruyter - Factor Y VDM - Silent Dance Dominion - Eleven Hours Original Mix Link - Amenity Brother Brown ft. Adrenaline - Sex appeal Maxi-single. Afroquake - Party people Maxi-single. After Moon - Give me Maxi-single. Aftertouch - I'm wild LP. Ais - Oasis - Paradise a Maxi-single. Alicia - Open your eyes CD-maxi.
Alicia - Supergirl CD-maxi. Alien Factory - E. Alien Nation - Lovers of the world Maxi-single. Alien Nation - The Reapers remix Maxi-single. Alkimia - Instint Maxi-single. Alpha - Alpha world original mix Maxi-single. Alpha Base - Heaven help my heart Maxi-single. Alquimia - Alchimia EP vol. Amadeus - Minuet first version Maxi-single. Amber - This is your night CD-maxi. Ammonia - Music, music Maxi-single.
Analogic Tribe - Do you wanna mine? Real 70's remix Maxi-single. And One - Second voice Maxi-single. Anderson, Carleen - Mama said CD-maxi.
Andromeda - Spaceman Radio version CD-maxi. Andy - Boombastic fast version Maxi-single. Another Class - Don't you CD-maxi. Another Class - Please don't go Single. Another Class - Ride like the wind Maxi-single. Antico - Don't stop the rhythm Maxi-single.
Antico - What I gotta do Maxi-single. Radio version CD-maxi. Apollo Five - Fly Maxi-single. Appleby, Kim - Light of the world CD-single. Ariel - A9 LP. Ars Nova - I don't want your love Single. Artifex - Touch me now Maxi-single.
ASAP - Nena! Asya - I'm not scared Maxi-single. At the Villa People - Open your eyes extended rmx Maxi-single. Atahualpa - Eldorado Flute version Single. Atahualpa - Luna de sangre Maxi-single.
Atahualpa - Toca las congas LP. Atmospheric - Oxigeno Maxi-single. Attica - Attica blues [? Augustine, Kirsty - Look out for my love Maxi-single. Aurra - Every little time Maxi-single. Avatt Garden - Get down CD-maxi.
Average - Save a prayer til the morning after Average version Maxi-sin. Axiom - I'm not a lady CD-maxi. Azul y Negro - De vuelta al futuro CD. Azul y Negro - The Bushmen - DJ D (5) - Love Parade Volume 6 (CD) tengo tiempo ultradance remix CD-single. Azuquita - Escucha que te digo! Azuquita - Rumbakalao CD-single. Baby Bumps - I got this feeling CD-maxi.
Back 2 Flack - Killing me softly house mix Maxi-single. Bailey, Carol - Fever CD-maxi. Baker, Amanda - I can't help myself CD-maxi. Bamble B. Banda Loca - Agua mineral extended batucada Maxi-single. Banda Loca - Agua mineral single version CD-maxi. Basic Element - Move me CD-maxi. Bass Bumpers - Good fun CD-maxi.
Bass Bumpers - Keep on pushing CD-maxi. Bass Bumpers - Runnin' CD-maxi. Bass Bumpers - The Music's got me Single. Batida de Coco - E-o tchan Maxi-single. Project - Journey through my mind Maxi-single. Beach Party - Night to remember Maxi-single.
Bee Buzz - Baba mhmmm Single. Beloved, The - Deliver me CD-maxi. Beloved, The - Outer space girl CD-maxi. Beloved, The - Sweet harmony Single. Beloved, The - You've got me thinking Single. Beloved, The - You've got me thinking CD-maxi. Beltrance - Heaven CD-maxi. Benedict Brothers - 4 those that can dance Maxi-single. Ber, Alex G. Berri - The Sunshine after the rain Maxi-single.
Betty V. Doop, Doop, Doop CD-maxi. Bicho, Pablo - Pez a cuadros CD-single. Big Room - Translator Single. Billie - Girlfriend CD-maxi. Billie - Honey to the bee CD-single. Bingoboys - Ten more minutes CD-maxi. Bionda, La - Eeah dada CD-maxi. Bionnic - Blue day Maxi-single. Bitch Brothers - Bitch trax vol. Bittor Base - On my excess Maxi-single. Bizarre Inc - Playing with knives Maxi-single.
Black Box - Mixed up Maxi-single. Black Box - Open your eyes Single. Black Magic - Europa radio version Single. Black Rose - Melody Maxi-single. Blake, Kenny - Tom's diner CD-maxi. Bliss Team - Love is forever Maxi-single. Bliss Team - You make me cry Progressive mix Maxi-single. Blue Jeans - Una noche sin ti CD-single.
Blue Sky - Stay Maxi-single. Blue Storm - Land of freedom CD-maxi. Blue 4U - Boom CD-maxi. Blunero - Dreams Maxi-single. Boa Club - Fever sax Maxi-single. Bobo Moreno - Hvide Logne [?
Bodicon - Send me an angel Maxi-single. Boheme - Boheme CD. Bomba, La - Don't you want me CD-single. Bomba, La - Megafiesta CD. Bombers - Dirty back road Maxi-single. Bombers - Independent love song version 12 inch Maxi-single. Bong - Do you remember? Bouche, La - Be my lover Maxi-single. Boy George - Love is leaving CD-maxi. Boy George - When will you learn CD-maxi. Boy Tronic - My baby lost her way -Single. Broken English - Ponte la marcha Single.
Brothers, Frank - Push that funky feeling Maxi-single. Brown, James - Dakeyne, V. B-Side - Ideal Maxi-single. B-Tronic - I just died in your arms tonight Single. Bucketheads, The - All in the mind CD. Buscemi - Ramiro's theme CD-single. Butterfly - Can't help falling in love original mix Maxi-single. B-Voice - Turn of the year Maxi-single.
B - Hiroshima Maxi-single. B - Hiroshima Radio version Single. Cabballero - Dancing with tears in my eyes Maxi-single. Cabballero - Hymn Maxi-single. Cabballero - Hymn Trance club mix Maxi-single. Cabballero - Love is a shield Maxi-single. Camarco - Boom boom Let's go back to my room radio version CD-maxi. Camarco - I promise myself radio version CD-single. Camela - Camela CD-single.
Camela - Estrellas de mil colores euro radio remix CD-maxi. Camela - Simplemente amor CD-single. Can Can Gang - Can can Maxi-single. Capri DJ - Brutal Maxi-single. Captain Jack - Another one bites the dust radio mix CD-single. Captain Jack - Drill instructor short mix CD-single.
Captain Jack - Together and forever radio-mix one CD-single. Cardone, Nathalie - Baila si CD-single. Carlton - Power station Maxi-single.
Caroline - You and you Vocal mix version Maxi-single. Cascade - Do what you wanna do Single. Cascade - Do what you wanna do Extended club mix Maxi-single. Casino - Only you CD-maxi. Cassandra - Doobi doobi doo don't be shy CD-maxi.
Cassandra - Rien ne va plus CD-maxi. Castello - Il Sogno Maxi-single. Caught in the Act - A tu alrededor CD-maxi. Caught in the Act - Love is everywhere [?
Caught in the Act - Love is everywhere Factory team remix Maxi-single. C-Block - Keep movin' CD-maxi. Ce la Vie - Give me love long version CD-maxi. Cenobyte - Tales from the a-side Byte mix Maxi-single. Central Z - Alarm Original version Maxi-single. Charly Jr. Chavez, Ingrid - Elephant Box Maxi-single. Cherry Coke - No hagas el indio, haz el cherokee CD-maxi. Chicane - Don't give up original radio edit CD-single. Chicane - Locking down CD-single.
Chicane - No ordinary morning 7" radio edit CD-single. Chili Hifly - Is it love? Circuit - Transport of love Maxi-single. A - Bellisimo Maxi-single. Clarke, Rozlyne - Take my hand CD-maxi. Click, Le - Call me CD-maxi. Clubmen - All you need is love CD-maxi. C-Mobility - Kozack house Maxi-single. Cocktail Twins - Pressure on Maxi-single. Coco - Everyone Maxi-single. Code-3 - Dark voice EP Maxi-single. Codford, Mike - You're beautifoul Maxi-single.
Coherence, The - Bed are burning Maxi-single. Cola Boy - 7 ways to love Maxi-single. Com-Eta - Faraway Maxi-single. Company - A Girl like you Maxi-single. Composser Traks - Fall down Maxi-single. Confidencial - Confidencial CD. Consilio - Take my heart CD-maxi. Consilio - The Colours of love CD-maxi. Corale - Sunday bloody Sunday Maxi-single. Corina - Corina CD. Corina - Temptation Single. RO - Temptation CD-maxi.
RO - Taleesa - 4 your love CD-maxi. Corona - Baby baby Maxi-single. Corona - The Bushmen - DJ D (5) - Love Parade Volume 6 (CD) baby CD-maxi. Corona - I don't wanna be a star CD-maxi. Corona - Magic touch CD-maxi. Corona - The Power of love CD-maxi. Corona - The Power of love Maxi-single. Corona - The Rhythm of the night Maxi-single. Corona - Try me out CD-maxi. Cosmic - Planet dream Maxi-single. Cosmo - The Nation of house Maxi-single.
Cousins, Tina - Killin' time Sash! Cover Masters, The - Desde mi libertad Maxi-single. Cox, Carl - Sensual sophis-ti-cat CD-maxi. Crazy Heaven - Don't break my heart Maxi-single. Cristal Mass - Burning love CD-maxi. Critical Mass - Burning love Maxi-single. Crush - Jellyhead Maxi-single.
Cruz - All I need is love CD-maxi. Crystal Clear - Gypsy love CD-maxi. Culture Beat - Crying in the rain radio edit CD-single. Culture Beat - Take me away CD-maxi. Cunnie Williams - Heavy D. Cupido - Historias de amor Maxi-single. Cyberfamily, The - An Angel Maxi-single. Cynical Blend - Don't waste my time CD-single. Cynical Blend - Wonderful life CD-single. Lay - Don't stop the motion Maxi-single.
Da Hool - Meet her at the love parade e. Dacal, M. Dacosta - Salga la luna Maxi-single. Daddy K - Voulez-vous coucher avec moi CD-maxi. Dafffy Duck - Party zone Single. D'Agostino, Gigi - Tanzen E. Daley, Jerry - Gold CD-maxi. Daley, Jerry - Love kills CD-single. Damage Control - You've got to believe Maxi-single. Dance 2 Trance - Warrior Maxi-single. Dance 2 trance - Revival CD. Dance 2 trance - Warrior CD-maxi.
Dancefloor Collective - Everybody's dancing CD-maxi. Dario - Sunmachine Original radio mix CD-maxi. Dario G - Voices CD-maxi. Darkness - In my dreams Radio mix CD-maxi. Datura - Mantra CD-maxi. Datura - Voo-doo believe CD-maxi. David-On - Liquid Basic theme Maxi-single. Daze - Superhero CD-maxi. DB - Your town Maxi-single. Pink - Shine on you cracy diamond CD-maxi.
De Palma - Borracho CD-single. Decadance - Save my soul CD-maxi. Decibella - Nowhere girl Maxi-single. Decoder - Feel Maxi-single.
Dee, Naomi - I need your love CD-maxi. Deee Maestro - Deee spane Single. Deejays United - Computer dance nine Maxi-single. Deep Forest - Boheme CD-single. Dehlia - Raver's Single. De'Lacy - That look CD-maxi. Depeche Mode - Condemnation Single. Desvelo - Gori-gore Maxi-single. Deus ex Machina - Ciudad de luz [? Device - Huevoncito Maxi-single. Devil - Wonderwall Original euro version Maxi-single.
Devila, Mac - Countdown radio edit CD-maxi. Dhany - Quiero respirar CD-maxi. We are a totally volunteer, open source, free content, public domain project. LibriVox volunteers narrate, proof listen, and upload chapters of books and other textual works in the public domain. These projects are then made available on the Internet for everyone to enjoy, for free. There are many, many things you can do to help, so please feel free to jump into the Forum and ask what you can do to help!
See also: How LibriVox Works. LibriVox volunteers are helpful and friendly, and if you post a question anywhere on the forum you are likely to get an answer from someone, somewhere within an hour or so. Extramusical elements 5. Shock tactics A heady band like Factrix has a lot to say about organizational autonomy and shock tactics. Like you suddenly wake up with no memory of what happened, but the knife is still in your hand.
When they really needed to bang on something, a battery of metal, plastic, and glass did the job. At live shows, singers Bond Bergland and Cole Palme would hunch over their instruments, their high mumbles cutting through the shifting reverb that the band applied to every sound. Perhaps more than any other industrial act of the s, Factrix were aesthetically honed in on the emotively eerie. Dressed in black with black-dyed hair, the band proclaimed allegiance to ex-surrealist Antonin Artaud and his Theatre of Cruelty.
Reciprocally, San Francisco was uniquely equipped to introduce Artaud as a precondition to Factrix: local beatnik Lawrence Ferlinghetti compiled, translated, and published through City Lights Books the Artaud Anthology, and the nonprofit arts complex Project Artaud has operated in the Mission District since Vale but not to Factrix.
When he and Andrea Juno published The Industrial Culture Handbook inthey were compiling and bibliographing what they considered a collective cultural statement whose incendiary articulation was short-lived. Mail Art, Tape Technology, and the Network. They came out of the blue like that. An important origin of this network lies in the democratizing art movement Fluxus. George Maciunas, whose family immigrated to the United States from Lithuania after World War II, studied art and design at some of the finest schools in the country, focusing in particular on the history and interaction of modernist movements.
Out of a desire to bring art to new audiences in non-elitist, mass-produced means, members of this network began to exchange what they called mail art. Mail art might be a handmade collage postcard sent to a friend, or a single-printing fanzine of cryptic phrases passed through the post to a dozen recipients from one to the next, or it might be mass mailings of doll parts to entire streets of strangers meant to bewilder and shock. As discussed in Chapter 3, a variety of ideas from Fluxus influenced early industrial music, but the particular importance of its mail art wing cannot be overstated.
Artists could create postcards, collages, and homemade pamphlets with visual panache using photocopiers and also new instant cameras—the folding Polaroid series was introduced in Most of the early readers of these zines were obsessive fans in science fiction and garage rock communities, largely unaware of Fluxus, but artistic and radical leftist gangs had their own publications too.
Independently printed specialized publications in art and politics date back more than a hundred years, but copy shops allowed faster, more anonymous, more parodic, and more radical zines and lit mags.
More directly relevant to industrial music is the huge network of cassette-based musicians and record labels that developed in the late s and early s all around the world. Nearly every active industrial musician in the world from to participated in this network. Although Northern England, Berlin, and San Francisco were geographical centers of the style, industrial music boasted a sparse, covert ubiquity nearly from the start.
Its makers The Bushmen - DJ D (5) - Love Parade Volume 6 (CD) to and were inspired by this underground cassette scene, itself the crossroads of cassette tape technology with the mail art submovement within Fluxus. Fluxus questions the fixity of art objects by allowing events and acts to be living, social art, but the rise of tape exchange networks began independent of Fluxus, like the rock and sci-fi zines mentioned above.
The actual medium of the cassette inspires politicized networking. When that happened, hi-fi enthusiasts quickly learned how to copy music to tape from the radio, LPs, and other cassettes. Secretly taping concerts was now an enticing possibility to many fans. Overlapping significantly with the rock fanzine crowd, the bootleg circuit was coming alive. Into the s, many bootleggers paid to have recordings cheaply pressed to vinyl by small manufacturing plants, in some cases packaging them to look official so as to fool completist fans into buying them.
America had done its part too, with a congressional ruling that amended copyright law to allow home taping, which meant a boom for the blank cassette industry. The entry of the Japanese brand Maxell into the tape market in the early s was also a major turning point, as they offered higher-quality media, raising the bar for sound quality.
Not all tape mailing was musical: many people in the s first received or mailed tapes during the Vietnam War, when some soldiers found cassettes an immediate, durable, and personal way to communicate with their families. In the Iranian revolution, for example, this was instrumental in spreading the words of Ayatollah Khomeini to largely illiterate populations. As with audio letters, early cassette music bore intimate personality.
Stevie Moore, who as the son of Bob Moore, bassist for Elvis Presley and Roy Orbison, had grown up with access to recording technology. Moore had begun distributing his homemade cassettes to friends and family as early as Inhe left school to focus his efforts expressly on tape music making and distribution. Others were simply recording their music live to stereo cassette tape. In these pre years, a few musicians such as English synthesist Paul Kelday and saxophonist Barry E. Pilcher began offering their tapes for purchase in small music magazines.
Over the next few years, home recording began to expand as a hobby both for bookish experimenters and as a rehearsal for motivated pop hopefuls. It was the public availability of the Tascam and Fostex four-track cassette recorders in that opened the floodgates of independent tape artists. The cassette as a medium impels its users to create, to cut up. Of course academic experiments with tape splicing and collage predated all this, but the access that was due to the affordability, expertise-free physicality, and social translocation that these tools enabled was a revelation.
So even to a singer who records linear songs in real time to two-track, these anarchic qualities could impart a sense of the experimental, a connotation of the proletarian underground. The Eternal Network. Most of those in its network had an introductory moment similar to that of Boyd Rice of NON: I was really interested in European art movements of the early twentieth century, particularly Dadaism.
Some guy wants to put out a magazine about Dadaism. He was already in touch with all these people. I started getting invitations to send art to art galleries in Prague and you name it.
Because mail art was geographically diffuse and based as much on the receipt of a parcel as a gallery opening, it seemed a post- industrial egalitarian form par excellence: though quality certainly mattered, the quantity of art in circulation helped to subvert the bourgeois value of scarcity.
These publications were especially important to fans outside of urban areas, as they offered mail-order addresses and information about music that was otherwise inaccessible, sometimes oceans away. Included among these earliest isolated UFOs were French photographer Philippe Fichot, who launched his record label Bain Total and the seminal industrial band Die Form inand Vittore Baroni, an Italian artist who founded the cassette label Trax and would release music by Laibach and Lustmord.
When we decided to do TG we applied all those strategies to the band. We still use those strategies. So we, for example, in an album put a questionnaire. We pretty much got them back one for one: we sold an album, we got back a questionnaire.
We were getting all these back, and we thought, well, what do we do? Now people are thinking and reacting and writing. These are the people who really want to be involved. So what can we do to speak to them? The glut of tapes came from fans looking for validation from Throbbing Gristle or musicians looking for a deal with Industrial Records.
They could then hook up with one another if they desired. This merging left the tape scene with more of a scent of Fluxus than the other way around: s tape zines such as ND, U-Bahn, and Electronic Cottage readily covered nonmusicians like the extreme film collective Coup De Grace, while mail art continued and continues to exist largely irrespective of the tape scene— acknowledging it as part of the family, but leaving it to those who care most.
This is probably the case because, first, the tape scene prior to the advent of the four-track cassette recorder was simply much smaller than the mail art scene, and second, it was at that point centered more around a technology than a credo. The difficult aesthetics of many industrial musicians bore a nasty streak that ultimately led to tension both with mail art networks and with the law.
InP-Orridge was put on trial for violating the Post Office Act by sending a collage postcard featuring pornography alongside a portrait of the Queen. It encouraged users to be fans, distributors, musicians, and journalists all at once. After that, he would go on to record and release tapes of his own. You had to, in a way.
Some tape acts were on the political right, notably UK-based Con-Dom and Belgian duo Club Moral, but liberal ideologies were more common. The industrial scene was almost entirely male. The prevailing attitude hinted, in fact, that women actively hindered the scene. Is this going to take long? In andthe major-label record industry experienced its worst-ever financial downturn. Although some blamed punk and its anticapitalism, and some disco an easy target, as many felt it threatened their whiteness and heterosexualitythe industry fixed the crosshairs on the cassette business: young African Americans bought large boomboxes and were visible users of the tape medium—these were also the early days of breakdance and the hip-hop mixtape—and the underground taping network entirely separate from the rap scene was growing every day.
Still other musicians important to the scene remain less known but certainly deserve a listen, such as Colin Potter, Sleep Chamber, Bene Gesserit, Bourbonese Qualk, Konstruktivists, and Blows. Levermore recalls Rising The Bushmen - DJ D (5) - Love Parade Volume 6 (CD) the Red Sand forcing his transition from zine enthusiast into label owner: My idea was just to sell them on mail order and to sell some to the Rough Trade shop in London and maybe one or two other shops that might be interested.
I think I sent out three promo copies. So my lunchtimes were spent in the post office—of course I still had my job at the time—they were spent at the local post office, mailing out all these cassettes that people had ordered from me.
As some labels and artists attracted wider recognition and financial success, the otherwise egalitarian tape scene began in small ways to factionalize. It started becoming clear that there was money to be made, though it lay beyond the limits of the cassette as a medium. Recall the definition of a musical scene as having centralized participation but an ever-changing cast.
In the case of tape music, this managed to occur in the absence of a single location; the network spread across the west and also included a handful of musicians in Asia, Africa, and South America. Rather than hinder activity, however, the globality and facelessness of the network imbued it with greater cultural variety than an in-person scene, while simultaneously reducing the risk of interpersonal bristling through misunderstanding to put it gently, social awkwardness frequently accompanied the reclusive collector mentality that encouraged participation in the tape scene.
Entire projects can be shelved for extended periods of time and then resurrected at any later date. The point here is that through this virtual scene and its interpersonal, musical, organizational, and technological facets, industrial music not only spread on the wings of airmail but rose up and coalesced in a variety of independent locales by the mere suggestion of artistic and technological possibility.
In the first half of the s, while industrial music retained the power to express informational struggles of the urban west as it still does todaynew audiences gave new contexts and meanings to the genre. We were looking around and it was not under T. The next time we went in, there was Cabaret Voltaire there under I.
They really swallowed it. Industrial music was now a genre. We did it! We invented a genre of music! It makes for a good story P-Orridge excels as a storytellerbut this swift appropriation of the I-word was fairly isolated. As such, it takes time for these parties to agree with one another about just what a given genre is, by which point it might be a few years old, or worse, totally over. These years also mark the beginning of a long period during which industrial music would be financially profitable, socially cool, and, to wide public audiences, musically pleasurable.
This chapter, however, is chiefly concerned with the period from the early s to or so, during which the aforementioned negotiations of genre took place in a newly self-aware and fast- growing musical milieu generated from the collective contributions of the aforementioned English, German, and California-based scenes as well as the tape networks that gave voice to virtual scenesters the world over.
This is all part of the extended dialogue of the scene during those years. On one hand, how could it continue, progressing beyond the extremes of confrontation, noise, and high- concept PR embodied in its first wave? And did it matter? On the sonic level, the biggest change during this time was the increased incorporation of pop and rock practices, particularly the use of dance beats.
In reality, it was the lack of a regular beat that made first wave outfits like London based Antipodeans SPK harder to digest. But not all drumbeats serve the same purpose. First is the explicitly political appropriation of pop, which can include parody, but which usually instead of mocking popular music uses and recontextualizes it to assert social commentary about that pop and the culture that consumes it. Thirlwell has used for his mostly solo endeavors.
Are you ready on guitar? Shut up! Shut up, guitar! A-hit me now! Syncopated accents ornament an otherwise rigid backbeat as a narrator intones: Laibach practices a sound force in a form of systematic, psycho-physical terror as social organizational principle, in order to effectively discipline and raise a feeling of total adherent bond of a certain, revolted and alienated audience, which results in a state of collective aphasia, which is the principle of social organization.
In this passage—less a lyric than a manifesto—the band declares their intent to force the compliance of a dissident audience after all, who else listened to Laibach? One reason for this is that readily available consumer-level synthesizer gear encouraged musical possibilities that lay within a certain range of dance music styles.
Because musicians from different genres began using these instruments—machines made by Korg, Roland, Oberheim, and perhaps most famously Moog—not only did their sonic profiles as a result converged in resemblance but they nearly all began working with the same musical signifiers of dance, even if these artists had no specific desire to channel disco or rock. That absolutely dumbfounded me. Most of them were people who had shown no interest in dance music whatsoever, but so-called Industrial music became dance music.
The same thing goes with that most famous of all drum machines, the Roland TR Manufactured from tothe TR gave users sixteen equal steps of time to fill with the drum sounds it generated.
These were represented in four sets of four buttons with LEDs, and each set of four buttons was a different color red, orange, yellow, and white. Computer scientist and virtual reality pioneer Jaron Lanier warns that when machines are designed to facilitate one kind of creativity, they often stamp out other kinds. Lock-in removes ideas that do not fit into the winning digital representation scheme, but it also reduces or narrows the ideas it immortalizes, by cutting away the unfathomable penumbra of meaning that distinguishes a word in natural language from a command in a computer program.
So when bands such as Clock DVA and Cabaret Voltaire threw out their guitars, saxophones, and tape splicing tools and built studios with ever more synth gear, the new sounds they made were exciting, but they existed within a range that in retrospect we perceive to be tied to that particular era, and in their digital precision and instant looping they encouraged repetitive, rigid music.
The gear situation was timbrally limiting, too: guitars sounded good through many kinds of distortion, for example, but most synthesizer tones are too acoustically rich to be musically versatile when run through a fuzz box—especially if played in chords.
The limited palette of drum sounds during the early s is duly instructive; there were only a handful of drum machines that were affordable to consumers, and so their sounds became quickly known. As Die Krupps had done, a lot of bands supplemented their sequences with live noise percussion, but at the heart of most early industrial dance music is a thin, familiar ticking.
There were few exceptions. Certainly not all industrial music was synth-based see Test Dept. I got a chart because I was DJing. It used to be called the Chelsea Drugstore. I had a residency at the Redford Pool House, which is north of Mansfield. It was my selection. And even as synths, samplers, and sequencers went digital in the mids, the analogue hardware ethos of repetition persisted in the software and the music alike.
The third way that industrial music uses dance and rock tropes is for their sheer musical and bodily pleasure. Taken in light of the ironic first category of pop tropes in industrial music, though, this issue of pleasure can seem tough to grapple with.
A central theme in music by Throbbing Gristle, Factrix, Merzbow, and others is the intentionally ugly and alienating. Here we have to ask: Is the point of uncovering the social neurosis to cure it? Instead, a lot of industrial dance music admits and revels in its own pop pleasure. Masochism is therefore the most explicit reconciliation of this self-aware submission—especially in light of the thematics of pain.
He was not a stupid guy—a very learned guy. SPK played the song live for the first time in late Julyand less than two weeks later they were sharing the stage with Howard Devoto and the Smiths— comparatively less dour openers than their previous support acts of whom the Birthday Party and the Virgin Prunes were the most well known.
Physically exhausted and damaged, she is enslaved to its Marxist, opiate potential. In some ways, this resembles the ambivalence between technophilia and techno-paranoia explored in the Futurism-Burroughs equation. We need to grant these possibilities in understanding industrial music. During this era, for instance, it developed a polymorphous obsession with the body as a site of both purity see the early work of Front and Nitzer Ebb and revulsion Skinny Puppy.
On occasion, there were Hells Angels. Overall, I think they just got the fact that we were up for it. We would get up there and it was very energetic. At concerts, audiences would brood, yell, and occasionally dance. On the stage, dozens of bands imitated the military chic of Throbbing Gristle. Others wore futuristic black plastic jumpers, and others still blended in with the postpunk set, dressing in trenchcoats. Some fans went shirtless, modeling themselves after Soviet labor posters, contrasting with the Kraftwerk-inspired image of sweatless android performers.
Millions of mini- Blixa Bargelds and Mark Chungs. The singing is undeniably melodic, though, and the rhythms are rooted in dance. It was more an experiment to see if we could do it, because none of us were trained in any sort of musical way other than a few piano lessons. Then when we did that and it worked, we said okay, this is quite enjoyable doing this. We have to go beyond into where man meets space. A few months later, Christopherson, ever easygoing and diplomatic, agreed to join the project, even as he maintained his friendship with Carter and Tutti.
Over time, members would leave, not always happily. Christopherson and Rushton departed in early to found the band Coil. TOPY eventually took on a life of its own as a visible religious movement. In its questioning of consensus reality and in its ties to discordianism, chaos magick, and the Ordo Templi Orientis, TOPY surely deserves its own study Thee Psychick Bible is a good primerbut its story increasingly deviates from that of industrial music.
It was one thing to buy and enjoy a record; it was another entirely to correspond with an organization that many perceived as a cult ten thousand members at its peakconducting rituals concerned with the mysticism of the number twenty-three. As for which, that depends on whom you ask. When he was a teenage zine journalist writing under the name ScabmentalBalance met Christopherson while interviewing Psychic TV; they became very close and Balance joined the ensemble for a while, during which time he was romantically involved not only with Christopherson but apparently also in a brief, triadic relationship with Genesis P-Orridge and bassist Sharon Beaumont who used the name Mouse.
In mid, they invited Stephen E. The album was quite the big-budget affair for industrial music. Far from pop, though, Scatology uses samplers to create a bombastic, brassy flair.
Scatology resonated at its release and still does because it was at once a step away from the postmodern, the prankish, and the punk. It necessarily calls to mind the early-twentieth-century magician Aleister Crowley. Unlike nearly every other industrial band of the era, when Coil sings of death as they especially do on their LP Horse Rotorvatorthey do so with a real and fearful, first-person closeness.
Their legacy, though, is one of ever hinting at a secret world, an unspoken, unspeakable way of being. This perception was unintentionally fueled by the notorious difficulty of finding their records, which was due to poor distribution and sour dealings between them, Stevo Pearce whose Some Bizzare label distributed several of their early albumsand Dimehart Ltd.
In an illustrative reversal, Karlheinz Stockhausen namechecked them as among his favorites. Inboth Jim G. To this day, Williams still works with Graeme Revell on film soundtracks.
This relationship led the culturally curious Hill to research the Sozialistisches Patientenkollektiv, a radical group of patients and former caretakers in Germany from whom SPK would initially take their name and inspiration.
Founded inthe group disbanded a year later and was largely absorbed by the Red Army Faction. Bomb, Bomb, Bomb for mental health! Therapy through violence! Some tracks featured distorted vocals screamed over them, usually barely coherent. Some of these acts have claimed this was all done in irony.
Gary Mundy of the band Ramleh explains: At the time, this all fitted in with the audience-baiting and obnoxious attitude of the band—deliberately taking opposite standpoints just because it was irritating to do so. We were never a racist or right-wing band. Indeed, no members of Ramleh ever had any affiliation with any political party, but this kind of game is ultimately futile and childish and I became more aware of the danger involved and decided to call a halt.
At any rate, Whitehouse and the apparently right-wing noisemakers of the early s are constantly derided as having missed the critical message of acts such as Throbbing Gristle, Laibach, and SPK, instead latching onto only their violent imagery at face value. In more recent years, Whitehouse frontman William Bennett has gradually shifted his image, with the help of some sympathetic publications, to that of an elder statesman of noise music.
He has accomplished this in part through an alarming self- awareness, using his post records as a platform to critique noise, its fans, and its opponents, shining a thousand-watt strobe on his own political shortcomings and paradoxes, offering ceaseless questions with no possible answers. By refusing meaning itself and by also refusing to participate in either the social aspects or the imagery of early s industrial musicthey have managed to remain a willfully obscure and impenetrable artifact.
Whitehouse, whose name is a smearing cooption of anti- pornography activist Mary Whitehouse, crosses paths with socialist act Test Dept.
The Milk Of Human Kindness.
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