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An on-line repository for historical documents (articles, photos, scans, etc.) which chronicle the origins of Industrial music.

Updated: 2017-09-22T18:20:11.558-07:00


CAROLINER: Record Review


A brief review posted on Mutant Sounds of CAROLINER's first LP: 

"Something about Caroliner's particular strain of musical sickness prompts critics to trot out their most hyperbolic verbiage and the instinct it elicits in me is much the same (but then, when isn't that my instinct?), so allow me to direct my own ejaculations of adjective syrup in their general direction as well. This, the very first missive from the Caroliner mothership is a monster of deliciously diseased technicolor bulldada grotesquerie, this Bay Area mob's fully formed aesthetic universe of heat-stroked and ergot poisoned hoot 'n' holler smurf-voiced avant-rock cacophony completely in play even at this early stage. Subsequent releases (especially their masterstroke "I'm Armed With Qts. Of Blood", posted a while back by Jim) would refine their psychotic stratagems into something truly penetrating and hallucinatory, but the needle gunked lo-fi gruel of Residents/Beefheart/Butthole Surfers-informed insanity that's oozing out of the grooves here is as awe inspiring as the emptied-garbage-can packaging is disgusting..."

click link for the full post... 

A Chronological History of Electronic and Computer Music (from 200 BC-1974).


2nd century, BC:The Hydraulis was invented by Ktesibios sometime in the second century B.C. Ktesibios, the son of a Greek barber, was fascinated by pneumatics and wrote an early treatise on the use of hydraulic systems for powering mechanical devices. His most famous invention, the Hydraulis, used water to regulate the air pressure inside an organ. A small cistern called the pnigeus was turned upside down and placed inside a barrel of water. A set of pumps forced air into the pnigeus, forming an air reservoir, and that air was channeled up into the organ's action.Greek Aeolian harp. This may be considered the first automatic instrument. It was named for Aeolus, the Greek god of the wind. The instrument had two bridges over which the strings passed. The instrument was placed in a window where air current would pass, and the strings were activated by the wind current. Rather than being of different lengths, the strings were all the same length and tuned to the same pitch, but because of different string thicknesses, varying pitches could be produced.--------------------------------------------------------------------------------5th-6th centuries BC, Pythagoras discovered numerical ratios corresponding to intervals of the musical scale. He associated these ratios with what he called "harmony of the spheres."890 AD, Banu Musa was an organ-building treatise; this was the first written documentation of an automatic 995-1050, Guido of Arezzo, a composer, developed an early form of solmization that used a system of mnemonics to learn "unknown songs." The method involved the assignment of alphabetic representations, syllables, to varying joints of the human hand. This system of mnemonics was apparently adapted from a technique used by almanac makers of the time.1400s The hurdy-gurdy, an organ-grinder-like instrument, was developed.Isorhythmic motets were developed. These songs made use of patterns of rhythms and pitches to define the composition. Composers like Machaut (14th century), Dufay and Dunstable, (15th century) composed isorhythmic motets. Duration and melody patterns, the talea and the color respectively, were not of identical length. Music was developed by the different permutations of pitch and rhythmic values. So if there were 5 durations and 7 pitches, the pitches were lined up with the durations. Whatever pitches were 'leftover,' got moved to the first duration values. The composer would permute through all pitches and durations before the original pattern would begin again.Soggetto cavato, a technique of mapping letters of the alphabet into pitches, was developed. This technique was used Josquin's Mass based on the name of Hercules, the Duke of Ferrara. One application of soggetto cavato would involve be to take the vowels in Hercules as follows: e=re=D; u=ut=C (in the solfege system of do, re, mi, fa, etc., ut was the original do syllable); e=re=D. This pattern of vowel-mapping could continue for first and last names, as well as towns and cities.1500s The first mechanically driven organs were built; water organs called hydraulis were in existence.Don Nicola Vicentino (1511-1572), Italian composer and theorist, invented Archicembalo, a harpsichord-like instrument with six keyboards and thirty-one steps to an octave.1600s Athanasius Kircher, described in his book, Musurgia Universalis (1600), a mechanical device that composed music. He used number and arithmetic-number relationships to represent scale, rhythm, and tempo relations, called the Arca Musarithmica.1624 English philosopher and essayist, Francis Bacon wrote about a scientific utopia in the New Atlantis. He stated "we have sound-houses, where we practice and demonstrate all sounds, and their generation. We have harmonies which you have not, of quarter-sounds, and less slides of sounds."1641Blaise Pascal develops the first calculating machine.1644 The Nouvelle invention de lever, an hydraulic engine produced musical sounds.1738 Mechanical singing birds and barrel organs were in existence.The Industrial Revolution f[...]

GRISTLEISM - Throbbing Gristle-Inspired Sound Toy/Looping Device!


align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="<1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;">Gristleism  (5.0 out of 5 stars) "An Odd Thing, January 2, 2010By C. Pilkington 'Music Enthusiast'" ((Review found on I've enjoyed ambient music for quite awhile, and artists like Brian Eno are truly inspiring; even more in present times. His philosophy is that good ambient music should be something that is poignant when both focused on, or placed in the background.I stumbled on this little wonder after reading quite a bit about the Buddha Machines that FM3 introduced to the world several years ago. This is an offshoot of that product, and instead of containing blissful, soothing tones, Gristleism carries some very creepy and overall strange sounds originally created by Throbbing Gristle. For weird people like me, it's a very interesting little gadget.Before I continue, I have the red Gristleism; there are at least two other color choices at the moment, I just happened to pick the red one. Every Gristleism has a very simple plastic design: it has a volume adjuster (which also doubles as an on/off switch), a loop selector button, and a pitch/tempo shifting wheel; all located on top of this small, square device. The speaker is located on the front of the unit, and takes up most of the front. The Gristleism runs on 2 AA batteries, and has a unique design that fills the back of the toy. Even the box it comes shipped in has an ornate, but effective, design. That's the whole thing in a nutshell! Now, how is this supposed to be interesting, you ask? Well, the Gristleism contains 13 loops; all ranging in length. You can use the pitch/tempo shifter and really bend each loop into something entirely different; thus, the lasting power of this toy seems to be quite large. You can play with it for just a few minutes, and get a good grasp on what the thing is capable of. But, if you dive into it over time, you'll realize that there's a lot you can do with it.Now, when I get on the computer, sometimes I will just set up the Gristleism, and let it play in the background. It enhances your environment without being too much of a distraction (unless you set the volume really high). The Buddha Machines are obviously much better for this purpose, but I like the dark contrast the Gristleism has to the light of the Buddha Machines. If you have several devices, of either the Buddha or Gristleism variety, there's even more fun to be had.[...]

Interview with Monte Cazazza (Slash,1979)


SLASH Magazine (Vol. 2, #3) | January 1979 align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="<1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"> "From Oakland to England, from obscurity to being "very widely unknown", Monte Cazazza has a past. One of our finest investigative reporters lays it bare...     Next record due for release from Industrial Records is from Monte Cazazza, a reclusive Oakland artist whose performances have violated the sensibilities of indignant art critics, the entire acid-damaged Bay Area Avantgarde and jaded art-cliques from Menlo Park to Venice (Italy). He's been described as a "brilliant monster," "art gangster," and "a real sick guy," but one thing is unanimous: his personal appearances really rile people up. His detractors just don't seem to get the point. Genet says it best: "To escape the horror, bury yourself in it." Like other artists who are obsessed with violent images, Cazazza's early life was riddled with hideous events and accidents, including witnessing a necrophiliac in action. Rather than choke down those nightmares, he spat them back out at the world. Cazazza's reputation was spawned at Oakland College of Arts and Crafts when for his first sculpture assignment he created a cement "waterfall" down the main stairway of the building, making it permanently impassable and got the boot on the second day of school. His formal education completed, he passed quickly through a mutilated rubber doll period then disappeared among dark rumours of hospitals and jails. He resurfaced with a blatantly commercial attempt to woo the whims of the wealthy with tasteful pornographic collages of orchids sprouting penises at a San Francisco exhibit. He was contacted by an ageing countess as a possible benefactress and lunched at her famous Oakland mansion while visions of dollar signs danced drunkenly around the plates. The Contessa died two weeks later. Shortly thereafter in 1972 he achieved infamy when he was invited to attend an arts conference weekend-in-the-woods to share transcendental conversations on perspective and grant-writing while nestling paint-spattered jeans in pine needles and toasting hand-dyed marshmallows for "S'Mores" in an ultimate artsy outdoorsy atmosphere. Cazazza arrived with an armed bodyguard and sprinkled arsenic into all the food. At lunch he dropped bricks with the word "dada" painted on them on artistic feet. At dinner he burned a partially decomposed, maggot-infested cat at the table. His bodyguard blocked the exit, and several participants fell ill due to the stench. Photos and stories of this event were published as far away as Holland. Genesis P-Orridge and Cosey Fanni Tutti of Throbbing Gristle read of Cazazza in Vile Magazine in 1974 when he was a classic Valentine's Day cover boy holding a dripping bloody heart that looked torn out of his chest. The Gristle's and Cazazza's mutual fascination with pornography and fascism prompted the limeys to pay a call to California to view in person the 15'x15' silver screw together swastika Cazazza constructed which could be rapidly dismantled in case of police raids or guerrilla JDL attacks. Since their visit was at the height of the Gary Gilmore furor, they all photographed each other in blindfolds as though they were in front of a firing squad, complete with a real loaded gun pointed at their hearts to get better reactions. Postcards made of the photos were mailed immediately after Gilmore's execution to the warden of the Utah penitentiary and several newspapers. Over 6,000 T-shirts with the same photo were sold in England, and a picture of one was on the front page of the Hong Kong Daily News. Their mock photo was mistakenly considered the official execution photo according[...]

Ohm: The Early Gurus of Electronic Music


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Ohm: The Early Gurus of Electronic Music Special Edition 3CD + DVD(image)

[Track Listings]

Disc: 1
1. Valse Sentimentale - Clara Rockmore
2. Oraison - Ens D'Ondes De Montreal
3. Etude Aux Chemins De Fer - Pierre Schaeffer
4. Williams Mix - John Cage
5. Klangstudie II - Herbert Eimert/Robert Beyer
6. Low Speed - Otto Luening
7. Dripsody - Hugh Le Caine
8. Forbidden Planet: Main Title - Louis Barron/Bebe Barron
9. Elektronische Tanzste: Concertando Rubato - Oskar Sala
10. Poem Electronique - Edgard Varese
11. Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) - Richard Maxfield
12. Apocalypse-Part 2 - Tod Dockstader
13. Kontakte - James Tenney/William Winant
14. Wireless Fant - Vladimir Ussachevsky
15. Philomel - Milton Babbitt
16. Spacecraft - MEV
Disc: 2
1. Cindy Electronium - Raymond Scott
2. Pendulum Music - Sonic Youth
3. Bye Bye Butterfly - Pauline Oliveros
4. Projection Esemplastic For White Noise - Joji Yuasa
5. Silver Apples Of The Moon, Part 1 - Morton Subotnick
6. Rainforest Version 1 - David Tudor
7. Poppy Nogood - Terry Riley
8. Boat-Woman-Song - Holger Czukay
9. Music Promenade - Luc Ferrari
10. Vibrations Composees: Rosace 3 - Francois Bayle
11. Mutations - Jean-Claude Risset
12. Hibiki-Hana-Ma - Iannis Xenakis
13. Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals: Drift Study '31/69 c.... - La Monte Young
Disc: 3
1. He Destroyed Her Image - Charles Dodge
2. Six Fants On A Poem By Thomas Campion: Her Song - Paul Lansky
3. Appalachian Grove - Laurie Spiegel
4. En Phase/Hors Phase - Bernard Parmegiani
5. On The Other Ocean - David Behrman
6. Stria - John Chowning
7. Living Sound, Patent Pending Music For Sound-Joined Rooms Series - Maryanne Amacher
8. Automatic Writing - Robert Ashley
9. Canti Illuminati - Alvin Curran
10. Music On A Long Thin Wire - Alvin Lucier
11. Melange - Klaus Schulze
12. Before And After Charm (La Notte) - Jon Hassell
13. Unfamiliar Wind (Leeks Hills) - Brian Eno

DRONES- from Stockhausen to La Monte Young to Nurse With Wound...


align="right" frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="<1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 245px; padding-right: 10px; padding-top: 5px; width: 131px;"> Theatres of Eternal MusicSay the word drone and, depending on your conversation partner, any number of possible responses might emerge: an entomologist's exegesis on the male honeybee's mating practices, the military expert's account of Unmanned Aerial Vehicles, perhaps a musicologist's analysis of the drone-like features of the bagpipe, bluegrass banjo, and didgeridoo. Within electronic music circles, the word might elicit historical anecdotes populated by dramatis personae like La Monte Young and Terry Riley, plus nostalgic recollections colored by strobe-lit chanters and tambura players. Far from being an esoteric phenomenon of the ‘60s, recent works by Greg Davis, Deathprod, Robert Henke, Minit, and Growing suggest that the drone is still very much alive and, if anything, thriving. While there appears to be a resurgence of interest, it's also possible we're merely witnessing new additions to a genre that has never really gone out of fashion. What constitutes a drone? To begin, sustained intonation that establishes a harmonic center for its accompanying elements; the drone might utilize a single note repeated indefinitely or, at the opposite extreme, all of the scale's notes spread across numerous octaves. Other key aspects include extended duration, modular repetition, and a focus on overtones. Influenced by the music of India, Indonesia, and Africa, the drone form's oft-used alternate tuning (Just Intonation) and vertical concentration challenges the tacit supremacy of a Western tradition that prioritizes horizontal development.Young and Riley are regularly lumped in with Philip Glass and Steve Reich in discussions of minimalism yet the two pairs embody fundamentally different subsets. According to composer and violinist Tony Conrad, minimal music (of the Young type) involves tonality, repeating modes, and long pieces with middles but no endings or beginnings. Bereft of conventional development, the trance-inducing drone with its extended tones and layered pitches does change but glacially. In lieu of lengthy tones, the early works of Reich and Glass are founded on modal patterns that slowly shift throughout prolonged repetition to a similarly hypnotic effect. One might differentiate, then, between “drone minimalism,” with its tonal emphasis, and “pattern minimalism,” with its rhythmic pulsations. Of course, such theoretical distinctions prove less straightforward in practice. Reich's Four Organs, for example, straddles both drone and pattern variations since its organs repeat the same chord progression for 24 minutes with varying lengths of silence separating the chords. His voice pieces Come Out and It's Gonna Rain serve as better examples given their minimal means, yet here, too, repeating patterns morph into drone-like episodes.Ambient music and drone genres also overlap, Greg Davis's Somnia drone “Clouds As Edges (version 3 edit)” a case in point. Certainly a piece can satisfy the drone criteria yet be ambient if it also meets Brian Eno's criterion that an ambient work should be “as ignorable as it is interesting” (Music for Airports, 1978). Davis says, “Aside from the more placid, meditative kind of music we often associate with drones, I enjoy that intense style, too, where it's so loud and overwhelming it's completely immersive.” Davis might just as easily be alluding here to the volcanic roar of Young's Theatre of Eternal Music ensemble, Lou Reed's 1975 scabrous feedback fest Metal Machine Music, or the droning riffage of Sunn 0))) and Growing.Dream SyndicatesEach day, multitudes flock past the[...]

Industrial Music (A Condensed History)


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REVIEW: BOYD RICE (NON), w/ Death In June, Blood Axis, Anton Lavey


Industrial « :::KILL UGLY RADIO:::: "h1
Boyd Rice
February 14, 2007

Music, Martinis And Misanthropy


Bad boy Boyd Rice as Rod McKuen with anti-social personality disorder. Frankly, it’s hard to take Rice’s schtick at face value. If you don’t, you can both enjoy his music and have a laugh. The seething-with-hatred People shouldn’t be listened to at work on a Monday morning. I’m warning you.

Other highlights include Disneyland Can Wait and the best-ever song by Lee Hazelwood I’d Rather Be Your Enemy, rendered all the more frightening when sung by a pleasant looking man who happens to dress like an occult SS officer.
Some other touchstones on this album are Anton laVey, Heraclitus, Ragnar Redbeard and the Carpenters. This is also a meeting of the Death In June/Sol Invictus/Blood Axis glee-club (Douglas P, Tony Wakeford, Michael Moynihan), plus Rose McDowall."

throbbing gristle - discipline


Live at Kezar Pavilion in San Francisco,5-29-1981Kezar Pavilion,San Francisco, U.S.A., 29 May 1981 Promotional leaflet THROBBING GRISTLE May 29 1980 San FranciscoIn my life I've been to many a concert but in many ways a live performance by the British group, Throbbing Gristle, is different. I got there early and noticed Genesis standing near the sound board that was situated in the middle of the hall, I was almost tempted to play the part of the rock fan and run over and fall at his feet but that's not what TG is all about so I carried on. In watching him talk with the sound people there seemed to be an air of relaxed authority about the man. As if he knew exactly who he was and where he's going. (So enough bull shit now to the show).Two S.F. punk bands opened and I was not impressed, to the extent that I put some cotton in my ears to dull the din. The only excitement was when the bassist broke his guitar and Genesis had to load him his.Finally they ended and the stage was cleared. The cotton came out of the eras and I was ready. The stage was sparse, considering TG's music, there were a few black cases that seemed to hold different boxes of knobs and dials. Cosey had a case set down in front of her which held five foot pedals, her guitar was an odd shape hardly and body to it and her horn connected to the control panel was present. Peter had a few more dials to play with plus some noise makers and four Sony cassette players that seemed to be connected to a switching network. Chris was a bit back stage and I couldn't see exactly what he had. Genesis had his bass guitar which seemed to have an extra pickup at the bottom of the strings and also had some foot pedals to play with.The music, well as usual it's hard to distinguish the new songs from the old. Devastating is probably the best word to describe the music. It overwhelms you, from the screams and blasts of 'Heathen Earth' to Genesis' soft voice echoing back and forth across the hall. I don't know what to make of Genesis, I guess you could say he puts 100% of himself behind his music and vocals but there's something special in the way he delivers a song in the way his emotions seem to flow from him and into the audience. The band as a whole were very comfortable on stage although Cosey looked a bit bored with it all. But towards the end she seemed to be playing more and I did see her smile once or twice.During one break between songs a member of the audience yelled out 'What A Day' and a nice little conversation ensued between Genesis and the audience. With Genesis saying he'd forgotten some of the words the audience pretty well sang the song themselves. But Peter had already started the tapes for the next song and 'What A Day' died before it started.You know for the life of me I can't remember anymore about the actual music. I can remember closing my eyes during one piece and floating off into the 4th dimension (no drugs here just TG). I can remember jumping up and down because of the intense beat, and I can remember screaming along with the rest of the audience as they yelled back at Genesis during 'Heathen Earth'. The show ended within the usual 60 minutes with a short version of 'Discipline'.At the end there was no screaming for more. I think the audience was too mesmerised by the last 60 minutes to really do anything. The group stayed on stage and started packing things up. Genesis talked with the audience for a while and I spoke with peter for a few minutes. As I said at the beginning it wasn't your average rock concert, it was more a happening, an event and one I'll remember for a long time to come.So in closing I'd like to thank Genesis P-Orridge, Cosey Fanni Tutti, Chris Carter and Peter Christopherson for coming to the States. God knows I doubt if they profited from this trip but I do hope they [...]

"The Art of Noises " by Luigi Russolo :: Italian Futurist


'The Art of Noises'Luigi RussoloDear Balilla Pratella, great Futurist composer,In Rome, in the Costanzi Theatre, packed to capacity, while I was listening to the orchestral performance of your overwhelming Futurist music, with my Futurist friends, Marinetti, Boccioni, Carrà, Balla, Soffici, Papini and Cavacchioli, a new art came into my mind which only you can create, the Art of Noises, the logical consequence of your marvelous innovations.Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites.And so was born the concept of sound as a thing in itself, distinct and independent of life, and the result was music, a fantastic world superimposed on the real one, an inviolatable and sacred world. It is easy to understand how such a concept of music resulted inevitable in the hindering of its progress by comparison with the other arts. The Greeks themselves, with their musical theories calculated mathematically by Pythagoras and according to which only a few consonant intervals could be used, limited the field of music considerably, rendering harmony, of which they were unaware, impossible.The Middle Ages, with the development and modification of the Greek tetrachordal system, with the Gregorian chant and popular songs, enriched the art of music, but continued to consider sound in its development in time, a restricted notion, but one which lasted many centuries, and which still can be found in the Flemish contrapuntalists' most complicated polyphonies.The chord did not exist, the development of the various parts was not subornated to the chord that these parts put together could produce; the conception of the parts was horizontal not vertical. The desire, search, and taste for a simultaneous union of different sounds, that is for the chord (complex sound), were gradually made manifest, passing from the consonant perfect chord with a few passing dissonances, to the complicated and persistent dissonances that characterize contemporary music.At first the art of music sought purity, limpidity and sweetness of sound. Then different sounds were amalgamated, care being taken, however, to caress the ear with gentle harmonies. Today music, as it becomes continually more complicated, strives to amalgamate the most dissonant, strange and harsh sounds. In this way we come ever closer to noise-sound.This musical evolution is paralleled by the multiplication of machines, which collaborate with man on every front. Not only in the roaring atmosphere of major cities, but in the country too, which until yesterday was totally silent, the machine today has created such a variety and rivalry of noises that pure sound, in its exiguity and monotony, no longer arouses any feeling.To excite and exalt our sensibilities, music developed towards the most complex polyphony and the maximum variety, seeking the most complicated successions of dissonant chords and vaguely preparing the creation of musical noise. This evolution towards "noise sound" was not possible before now. The ear of an eighteenth-century man could never have endured the discordant intensity of certain chords produced by our orchestras (whose membe[...]

Minimal Man - "Slave Lullabyes" (1986) [*download]


Many thanks to Lost-In-Tyme for posting. Review plus 2 links from which you can download the full LP...
>> Minimal Man - "Slave Lullabyes" (1986)n




found here >>

“Tone Generator” of S.P.K. Interviewed


Recent interview with SPK via Tone Generator...

[Read more over on:

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Rhythm and Noise - Naut Humon - Z'EV


Where South San Francisco ends, desolation begins. In November 1980, flyers began appearing on neighborhood telephone poles announcing an upcoming Rhythm & Noise show. "Crisis Data Transfer," the poster promised. No location was given, but a recorded phone message provided detailed directions to "The Compound."The Compound sits among a grim terrain of decaying housing, abandoned warehouses, electrified chain-link fences and packs of wild dogs. It was R&N's first show. Upon arrival, walkie-talkie-wielding attendants drove our cars away, leaving us to warm our hands at scattered timer fires. The scheduled showtime came and went and still we waited and shivered in the damp Bay air. Finally, a huge steel grate door was raised and we entered into billowing smoke and ten channels of surround-sound. The interior was banked with video screens of all sizes and enough sound equipment with which to construct a small village, most of it with that homemade hacker's look to it. "Vaudeo" they called it: video narratives set to live and manipulated soundscapes. The music screeched, droned, undulated, and even, on occasion, harmonized -- always with some semblance of a beat. Rhythm & Noise -- a well-named ensemble. The Compound is scarier than ever now that crack kings control the territory. The video screens are gone and the cavernous interior is jammed with hanging steel drums, hollow tubes, huge springs, wires -- wires everywhere -- and a baby grand piano. A control tower houses an intimidating array of sound equipment -- analog, digital, sampling, synthesizing, hybridizing, mixing boards, keyboards. A Mac II waits in the wings.Naut Humon, quintessential sound traffic controller began my tour slamming his arm down on a keyboard and manipulating the sustained sound for two roller-coaster minutes. Then he layered digitalized samples into an oscillating techno swamp. Synthesizers added electronic pterodactyls to the mix. Past sessions with percussionists, singers, and other musicians were called up to lend texture and spark. Finally this work in progress, "Running on Radar," treated the ears to soundwaves come full circle: noise tamed into post-modern lyricism. Naut Humon is the thread tying R&N together through the years. Z'ev, Nik Fault, Rex Probe, Michael Belfer, Comfort Control, and Diamanda Galas have been collaborators, but Humon is Rhythm and Noise:--------------------------------------------------------------------------------------------------"...In the early '70s Z'EV entered the picture. He was working with all these metal assemblages. He'd tune these racks of scrap until they were welded sculptures with sound functions. I'd quit Cal Arts so I could invest my money in equipment. We formed a group called Cellar M to combine live percussion with electronic manipulation. We did some good work, but dissonance wasn't hip yet." --------------------------------------------------------------------------------------------------Q: How fully did you work out the pieces you performed with Z'ev?A: There were definite flight plans, but they had room for spontaneous combustion.Q: When did Rhythm & Noise emerge as a distinct entity?A: In 1976, Nik Fault, Rex Probe, and I began a heavy period of research and development. We sold a lot of what we had and began to build most of our equipment. We started to develop The Compound, though we didn't actually perform until 1980. The punk/industrial movement was strong by that time, so we got some recognition, but people still couldn't understand it emotionally. At least not the way they could understand Led Zeppelin or whatever else they were used to listening to.Q: You hadn't recorded anythin[...]

Industrial Culture | "True Stories About True Gore", by Jack Sargeant


"Why do we watch a car accident on the freeway, or rush to see a fire, to drink in the tempestuous loveliness of terror, or simply to catch a glimpse of our destiny?" - True Gore "That's my primary goal. To get on people's nerves. So I always try and have something in them which I'm sure will get on somebody's nerves. And it's not a success unless people...or somebody...walks out, as far as I am concerned" - Monte Cazazza. Opening with the credit "The Gore Brothers Present..." True Gore (1986) is the logical heir to the mondo movie, that bizarre genre that welds together the freak show, anthropological curiosity, and pure, salacious voyeurism. Directed by Matthew Causey, with Monte Cazazza credited as "creative consultant", the low-budget True Gore is reminiscent of the later, more notorious, mondo movies such as Faces Of Death (Conan Le Cilaire, 1979), and its many sequels. While these now-legendary genre films were produced for box office release most were considered too extreme, even for the sleazoid crowds inhabiting the scummy cinemas of 42nd Street and Times Square, and it was on video that they found their audience, in recognition of this True Gore, like many of the mondo movies of the late eighties, was produced directly on video(1). Divided into four sections - The World Of The Dead, The Eroticism Of Decay, Art And Death, and The Science Of Death - True Gore feigns an attempt at structural coherence, but the optical effects created using a video synthesizer and designed to mask the identity of the film's unnamed narrator, the purposefully clichéd narration, and the occasionally misspelled subtitles belay its low budget. However, this should not be used as a reason to decry the film, so much as it should be seen as a signifier to other mondo texts, which themselves are in part characterized by their less than pristine appearance, indeed the style adds to the illicit thrills offered by the genre. Like many of the later mondo films, True Gore focuses primarily on images of injury, death and decay(2), however, in addition to those images familiar to the genre, the film also contains many segments culled from Monte Cazazza's own underground filmmaking practice(3). The first section of the film - The World Of The Dead - consists of re-photographed images culled from medical textbooks and police training manuals, forensic pathology and medical education films, and some original footage shot in a morgue. These grisly images of damaged and rotting flesh are followed with clearly faked footage of a suicide victim laying in a blood filled bathtub, casually slashed wrist dangling over the side of the bath, blood dripping onto the linoleum floor(4). Where this section becomes most disturbing is in its usage of the aural footage of Jim Jones' last speech as 956 members of the People's Temple commit suicide slurping cyanide contaminated fruit juice. The suicide soundtrack - dubbed over photographs depicting various iconographic elements of the People's Temple, including their discipline room - was culled from Cazazza's extensive archive, and was also released as a picture disc by the World Satanic Network Service(5). As the film's second section starts the narrator states, with a showman's faux cynicism, "in the underground of the world these films are created for the sickest minds". This is followed by a collage of shots taken from the legendary First Transmission video, produced by the Temple Of Psychic Youth(6), and depicting scenes of ritualized SM sexual experimentation. These images are familiar to anybody who witnessed Psychic TV in their pre-acid house daze. Cazazza was, of course, a regul[...]

Minimal Man [MP3s + Webpage]


Check out the tribute page I made for MINIMAL MAN (aka PATRICK MILLER) on mySpace, which currently has 4 tracks up for listening (not downloadable):
  1. She Was A Visitor
  2. Ascension
  3. Show Time
  4. High Why

*I will also be posting 1 or 2 Minimal Man mp3's sometime soon, on this blog...any requests?

Minimal Man: He Who Falls / She Was A Visitor (7") [MP3]


>> download here [10mb]

(image) debut single / 1980 / Monster Music

Iannis Xenakis: Phillips Pavilion, Poème Electronique, Edgard Varèse [Brussels 1958]


The Philips Pavilion was more than a building at the fair -- it was a multimedia experience displaying the technological prowess of the Philips company by combining light, sound, and color. Le Corbusier's involvement in the Philips Pavilion is often overestimated. In reality, most of the designing was carried out by his collaborator Iannis Xenakis (b.1922) a Greek architect and music composer working in Le Corbusier's office at the time. These photographs taken from a 1958 issue of Philips Technical Review depict the Philips Pavilion at the 1958 Brussels World's Fair. Located in a small site next to the Dutch section and away from the center of the fair, the pavilion hosted a futuristic multimedia display featuring images, colored lighting and music and sounds called the "Poème Electronique."Some of the greatest artistic minds of the twentieth century were involved in its creation, including the architect Le Corbusier (1887-1965) and the composer Edgard Varèse (1883-1965). But most importantly, the Philips Pavilion represented an important artistic phenomenon through its synthesis of architecture, visual media and music.The purpose of the pavilion was to exhibit the technology of the Philips corporation, a Dutch electronics company specializing in everything from sound production to fluorescent lighting to X-ray technology. Philips' aim was obviously promotional, integrating corporate advertisement into an exhibit much like the pavilions by General Motors and Ford at the Chicago fair of 1933 and the New York fair of 1939. But rather than having a traditional pavilion that would display their products for the visitors to browse through, Philips chose to create an integrated work of modern art that would utilize its wide array of technologies. Therefore, the Philips pavilion had no exhibits per se; rather it was a kind of exhibit in itself; an all-encompassing showcase of what the Philips corporation could offer.For the execution of this unique undertaking, Philips selected the French architect Le Corbusier, one of the greatest modern designers of the twentieth century. Philips executives approached him in January 1956 to design, in the words of artistic director Louis Kalff, a "spatial-color-light-music production" for the Philips corporation (Treib 2). Le Corbusier was by this time near the end of his career, but also at the height of his powers, as demonstrated by his recently completed masterpieces including the Unit‚ d'Habitation in Marseilles (1946-52) and the chapel of Notre Dame du Haut in Ronchamp, France (1950-54). Philips executives no doubt expected a first-class design from Le Corbusier, but they also expected him to direct the entire concept of the Poème Electronique and all of its images and lighting, in addition to the architecture. In effect, Philips gave Le Corbusier carte blanche to create their pavilion, insisting only that he utilize the various technological media the company was producing.Le Corbusier's involvement in the Philips Pavilion is often overestimated. In reality, most of the designing was carried out by his collaborator Iannis Xenakis (b.1922), a Greek architect and music composer working in Le Corbusier's office at the time. Xenakis would later become famous for his use of rigorous mathematical concepts and relationships in his music, but at this time was not well known. This may be part of the reason that he receives less recognition for the design than he probably deserves, coupled with Le Corbusier's prestige and public exaggerations of his own role. Le C[...]

VIDEO: Poeme Electronique (Edgar Varese)


REQUIRED VIEWING: "Poeme Electronique", by Electronic Music pioneer Edgar Varese & Le Corbusier. (Originally presented in 1958 at the World Expo in Belgium)

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Industrial Culture Handbook: Monte Cazazza (RE/Search #6/7)


MONTE CAZAZZA[PARTIAL BIO, 1972-'82]: In 1977 Monte entered the studios of Industrial Records to record 'Plastic Surgery,' 'Busted Kneecaps,' 'Fistfuckers of America', 'Hate', and 'To Mom on Mother's Day.' His first 45 is out of print. A film was made with Throbbing Gristle where Monte and a 14-year-old were electrocuted. He plays also in the film "Decadence" by Kerry Colonna with razor blades. [DISCOGRAPHY]: TO MOM ON MOTHER'S DAY (45, Industrial Records, IR 005, 1979) SOMETHING FOR NOBODY (EP, Industrial Records, IR 0010, 1980) MONTE CAZAZZA LIVE (C60 cassette, Industrial Records, IRC 28, 1980) CALIFORNIA BABYLON (LP, in collaboration with FACTRIX; Subterranean Records, Sub 26, 1982) STAIRWAY TO HELL (SS 45-007, special package with 45, from Sordide Sentimental, France; 1982) MONTE'S VIDEOTAPES Videotape of performances at the SCALA CINEMA and Live at OUNDLE SCHOOL NIGHT OF THE SUCCUBUS (produced in collaboration with Factrix, 1981) PERFORMANCE ART EVENTS Large display titled "Defend Yourself" featured board with knives stuck in it (free for the taking). Mannikins dressed as winos and bag people left in alleys with hidden cheap cassette recorders playing tape loops of screams and ranting and raving. Spring 1972. Oakland, CA USA. FUTURIST SINTESI. Galeria 591. Sex-religious show; giant statue of Jesus got chain sawed and gang-raped into oblivion. Dec. 21, 1975. San Francisco, CA, USA. RADIO AD TV ASSEMBLAGE AND DANCE. Shattuck Ave Studios. Giant wall construction of televisions and radios playing for 3 days (& nights) straight. June 25, 1976. Berkeley, CA, USA. MANIC MOVEMENT. Collaboration with Kimberly Rae. Berkeley Square. Kim tied up on spring-mounted platform; Monte appears squirming on floor in black body bag, cuts self out, cuts Kim loose, then destroys toys and props with hatchet to loud Romper Room record. Ended in fire. Jan 30, 1981. Berkeley CA USA. CONCERTS/MUSIC KEZAR PAVILION Performance spectacular with Mark Pauline and Factrix. First time working with Mark. War machines; spinning swastika with Monte inside; Scott & Beth B. films; also showing of "Behind The Iron Curtain" by Monte. Dec 6, 1980. San Francisco, CA USA. BERKELEY SQUARE. Guest appearance with Factrix. All music, more sedate show. Dec. 12, 1980. Berkeley, CA ED MOCK DANCE STUDIO. "Night of the Succubus" in collaboration with Factrix. Films, slides, organic robots, dance by Kimberly Rae, dart gun used for the first time by Monte, electro-shock, dental surgery on dead animal-machine. Member of audience angrily attacked 'robot' with chair, shouting that it wasn't 'erotic'. Video available. June 6, 1981. San Francisco. CA USA. p. 80   [...]



Patrick Miller, avant-garde leader of underground 'antimusic' ensemble Minimal Man, was born in Glendale, California, on 2 January 1952 and studied art at Sonoma State University, where he concentrated chiefly on silk-screening.After moving to San Francisco in 1979 he immediately began to experiment with music and film. Minimal Man began as a vehicle to produce soundtracks for these films, with the realization that anyone could do so given access to the tools. Miller also began to collaborate with a wide variety of punk, new wave and industrial musicians, including Tuxedomoon, and by October Minimal Man were performing at the legendary Deaf Club venue, and elsewhere.Minimal Man became one of a select handful of influential groups from this era to bridge punk and industrial music with aggressive blasts of noise and electronic effects. As the core of Minimal Man, Miller sang (and screamed), played keyboards and manipulated tapes to create their dissonant, unsettling, experimental sound. One critic described the result simply as 'antimusic.'The band name was inspired by people who lived in the low income Fillmore district of San Francisco. Though often without basic needs, these were people creative in adapting to life on the street. Miller's conception of Minimal Man was a character with 'everything against him.'The debut Minimal Man album The Shroud Of was originally released by Berkeley label Subterranean Records in 1981, when the core band comprised a trio of Miller with Andrew Baumer and Lliam Hart. Guest musicians included Tuxedomoon members Steven Brown and Michael Belfer (Sleepers), along with several others who reflect a revolving door policy with regard to personnel that Miller actively encouraged. Bond Bergland and Cole Palme also played in Minimal Man prior to founding Factrix.The cover of The Shroud Of features one of Miller's signature paintings. Writer Neil Strauss recalls: 'They were all variations on one image: a featureless head or mask, usually wrapped in strips of bandages that were peeling off to reveal a discoloured, decomposed face. It was a self-portrait. It wasn't even a mask; it was what lay beneath the mask (at least in his darkest moments) - a paranoid, dark, disturbed shell of a human being."In January 1983 Minimal Man recorded a second album, Safari, a more conventional set than the debut, with Miller and Baumer now joined by a guitarist and drummer. In 1985 Miller relocated to Europe, settling in Brussels alongside Tuxedomoon, and recorded Sex With God (1985), Slave Lullabyes (1986), Hunger Is All She Has Ever Known (1988) and Pure (also 1988). The European albums range in scope from hardcore EBM (so-called electronic body music) to more ambient instrumental tracks, while Pure revisits earlier recordings made in San Francisco. Live shows from this period usually saw Miller backed by various Tuxedomoon members including Steven Brown, Peter Principle, Luc van Lieshout and Bruce Geduldig.At the beginning of the 1990's Miller returned to the United States, first to New York and then back to California. Regrettably no further Minimal Man records appeared, and instead Miller worked in the movie business as a set dresser. Sometimes there were difficulties: "I invented Minimal Man as this wild person, and then I actualized it and took all kinds of drugs and stuff, because I felt guilty for not living up to this fiction."Patrick Miller was an artist of considerable talent, as a musician, as a painter, as a visual[...]

Angus MacLise - "Astral Collapse" CD (review)


Smothered Under Astral Collapse For those of you who like Throbbing Gristle, Coil, William S. Burroughs, Aleister Crowley, magick and experimental electronics, this is right up your alley. Angus Maclise was a composer, master percussionist, poet, mystic, calligrapher, occultist and former Velvet Underground member. His music runs the gamut of the experimental realm: drone, electronics & noise, tape cut-ups, spoken word, minimalism. Though he created a vast body of work from the 60's to 70's, it went unreleased, the master tapes sitting in a box in someone's closet. Only recently has his music been seeing the light of day via several releases on the Quakebasket label. The latest, Astral Collapse, compiles his more electronic/noise workouts:1. Smothered Under Astral Collapse - Angus recites his Tibetan Buddhist poetry over prepared tape cut-ups. His source material for the prepared tapes is Tibetan chanting and some odd drum loops. The way he manipulates it gives it a really churning, eerie feeling.2. 6th Face Of The Angel - Pure droning. 17+ minutes of transcendant, tape-delayed organ with little intricate change ups in oscillation and resonance.3. Beelzebub - This is the only percussion piece on the album. The way he plays the drums and then sonically treats the mix creates a feeling musique concrete or early electronic pulse music. it's very glitchy.4. Cloud Watching - a beautifully sinister piece. it's a murky blend of organic instruments that just twinkle and drone along in a hazy impressionistic cloud.5. Dracula - Trial by noise. Angus rips apart the air with an ARP modular synthesizer. This kind of destruction wouldn't be heard again until Coil's Constant Shallowness Leads To Evil.6. Dawn Chorus - several layers of prepared tapes cut up into a collage of white noise, eastern drone and field recordings from the East. Angus leads us back into more Tibetan poetry before letting us go.You can really hear the sound that COIL would take on and expand. It foreshadows the concepts of Moon's Milk: Spring Equinox or Under an Unquiet Skull, Astral Disaster (they are eerily similar in more than just name) and Constant Shallowness Leads To quote Jhonn Balance, Angus was a "liminal genius". ~Reviewed by: Philippe Landry (2/24/05)---------------------------------------------------------------------------------------------------- **For more info, read an earlier post focusing on the history of Drones and on the genre's creator, LaMonte Young (teacher/mentor to John Cale & Angus Maclise), and LaMonte's "The Eternal Theater", etc.[...]

FM EINHEIT (Einsturzende Neubauten) - INVISIBLE RECORDS - Martin Atkins (PiL, Pigface)


Martin Atkins has come a long way from being a fresh-faced 18 year old drummer miming on American Bandstand during a surprise appearance of Public Image Limited. When he left PIL, he started the Invisible Records label as his contribution to release independent music unseen in the mainstream. Through his Pigface band he has networked with a small army of freelance musicians from the underground rock and industrial scenes, so that now Invisible is the American home for Test Dept, Mick Harris/Scorn, Skinny Puppy's Ogre (aka 'R' with Atkins), and Psychic TV's Genesis P Orridge. After 10 years the label is celebrating their milestone with the humbly-titled the Lowest Of The Low tour, which will play three dates in Canada during April featuring Pigface (with Gus Ferguson from Test Dept), the long-anticipated Scorn, the techno/industrial group Not Breathing, the breakbeat-oriented Bagman, Vancouver's Dead Voices On Air and former Einsturzende Neubauten member FM Einheit. FM Einheit or "Mufti" to his friends, will be coming with his first new band since he left Neubauten during the sessions for their boring 1996 album Ende Neu. FM had been the chaotic element in Neubauten for 15 years, charging their live shows with an imposing physical presence by throwing himself into his drumming on metal percussion and amplified springs. With fellow percussionist, NU Unruh, he invented custom-made instruments and researched unique sound sources — even using his fists to thump out a rhythm on Blixa Bargeld's chest for the track "Thirsty Animal." "To rebuild music in a new way was the thing that I was most interested in Neubauten," he said from rehearsals in his Steinschlag ("stone beat") studio in Bavaria, in Southern Germany. "To do something and in the next moment just to let the whole thing collapse and look at it from a different angle. I started the original sessions for Ende Neu but I left during the recording. I just didn't see any stepping forward in Neubauten. It wasn't collapsing and rebuilding anymore. I just got a bit bored with it." Now Neubauten's original spirit of experimentation can be heard on Einheit's work with Andreas Ammer, including the award-winning productions Apocalypse Live and Radio Inferno (an update of Dante's classic that features narration by BBC broadcaster John Peel). Since Einheit's involvement with Neubauten's 1990 collaboration on playwright Heiner Muller's postmodern version of Shakespeare, Die Hamletmaschine, Einheit received a number of commissions to do music for theatre, dance and radio. Over a period of five years he created music for Muller's adaptation of the Prometheus myth, Edward Bond's Lear, an interactive dance/theatre production Sensation Death, a version of the Faust legend (featuring Blixa as Mephisto!) and several others yet to be released. Invisible has just recently issued another Ammer/Einheit radio production, Deutsche Krieger ("German Warriors"), which was made for Bavarian Broadcasting. The project is an ambitious attempt to encapsulate 20th century German history in three personalities: Kaiser Wilhelm, Adolf Hitler and Ulrike Meinhof. "The idea was to use original sound sources to let history speak for itself, because every time you open a book, all the information is channelled by the author. But while we worked on these three parts, we found we were researching the history of recorded media. So from the First World War you have gramop[...]