Assimilate: A Critical History of Industrial Music

Contents

• Introduction
• 1. A Fading Vision Lost in Time
• 2. The Pan-Revolutionary
• 3. The I-Word
• Part 1: Technology and the Preconditions of Industrial Music
• I. Italian Futurism
• 1. Industry
• 2. The Aesthetics of the Machine
• 3. Crash
• II. William S. Burroughs
• 1. Junkie
• 2. The Control Machines
• 3. Brainwashing and the Conflation of Authority
• 4. Mediatic Verses
• 5. The Cut-Up
• 6. Process as Composition
• 7. Media
• 8. Techno-Ambivalence
• III. Industrial Music and the Avant-Garde
• 1. Noise and Revisionism
• 2. The Revolutionary Class
• Part 2: Industrial Geography
• IV. Northern England
• 1. Progress in Hell
• 2. The Original Sound of Sheffield
• 3. Meatwhistle and ClockDVA
• 4. Throbbing Gristle
• 5. Manchester in the Shadow of War
• V. Berlin
• 1. An Island Out of This Planet
• 2. Strategies Against Architecture
• 3. German-ness
• 4. Ingenious Dilettantes
• 5. West Germany Beyond Berlin
• VI. San Francisco
• 1. Madness in Any Direction, at Any Hour
• 2. Monte Cazazza and Self-Propaganda
• 3. Z 'ev and Survival Research Laboratories
• 4. Factrix and Chrome
• VII. Mail Art, Tape Technology, and the Network
• 1. Fluxus and UFOs
• 2. A History of Tape Trading
• 3. Taping as a Political Act
• 4. The Eternal Network
• 5. A Virtual Scene
• Part 3: Industrial Music as Music
• VIII. The Tyranny of the Beat: Dance Music and Identity Crisis
• 1. Those Heady Days of Idealism Are Over
• 2. Irony
• 3. Technology and Rhythm
• 4. Futurist Pop
• 5. Pleasure
• 6. Industrial Identity
• IX. After Cease to Exist : England 1981-1985
• 1. The Mission is Terminated
• 2. London
• 3. Beyond London
• X. Body to Body: Belgian EBM 1981-1985
• 1. A Satellite State
• 2. Luc Van Acker
• 3. Front
• 4. Musical Order
• 5. Bodily Order
• XI. Industrial Music as a Theatre of Cruelty
• 1. Artaud-Damaged
• 2. Theatricalities of All Kinds
• XII. She's a Sleeping Beast: Skinny Puppy and the Feminine Gothic
• 1. From Pop to Puppy
• 2. Vancouver's Fertile Ground
• 3. Disrupting Maleness
• 4. The Feminine Gothic
• Part 4: People and Industrial Music
• XIII. Wild Planet: WaxTrax! Records and Global Dance Scenes
• 1. Industrial Music and the Mainstream
• 2. The Beginnings of WaxTrax!
• 3. Ministry
• 4. Mixing and Merging
• 5. The Business of Chaos
• 6. Clubbing and Participatory Culture
• 7. New Beat
• 8. The WaxTrax! Heyday
• XIV. Q: Why Do We Act Like Machines? A: We Do Not.
• 1. Pretty Hate Machine
• 2. Industrial Harmony
• 3. Language, the Self, and Gender
• 4. Get Me an Industrial Band
• 5. Resembling the Machine
• XV. Death
• 1. Death as Event
• 2. Death as Metaphor
• 3. Death as Fashion
• 4. New Life
• XVI. Wonder
• 1. Covenant and the Ubiquitous Sublime
• 2. Apoptygma Berzerk and the Spontaneous Sublime
• 3. VNV Nation and the Unthinkable Sublime
• 4. The Futurepop Backlash
• 5. Clubbed to Death
• 6. The Longevity of Industrial Bands
• 7. Industrial Music Is Dead?
• Part 5: Meaning and Revolution
• XVII. Back and Forth: Industrial Music and Fascism
• 1. Extremism as the Norm
• 2. Silent Politics
• 3. Loud Apolitics
• 4. The Effects of Fascism's Spectre
• 5. Fascist Assimilation
• 6. The Hidden Reverse
• XVIII. White Souls in Black Suits: Industrial Music and Race
• 1. Whiteness
• 2. The Inheritance of Blues, Jazz, and Dub
• 3. Exotica, Caricature, and the Techno-Oblivious
• 4. Technology and Racial Engagement
• 5. Black and White
• 6. Repetition and the English Ballad
• XIX. Is There Any Escape for Noise?
• 1. Unpalatable Truths
• 2. The First Two Options
• 3. Transgression as Law
• 4. The Future Happened Already
• 5. Pleasure, Flag Planting, and Revolution
• 6. The Third Mind