From: dkletter@adobe.com (SUGAR in their vitamins?)
Subject: Re: Industrial Music!!!
Organization: Flying Esophagus Productions
Date: Fri, 10 Apr 1992 18:58:02 GMT

In article <1992Apr8.193714.473@yvax.byu.edu> croftj@yvax.byu.edu writes:
>If someone who didn't know anything about industrial music asked you "what is
>industrial music" how would you respond? What is the definition of industrial
>music?

you'd respond with this, the FAQ (which is the last version since the update
is not yet completed, sorry folks):

"In the gap caused by the failure of punk rock's apocalyptic rhetoric,
[the term] 'industrial' seemed like a good idea."--Jon Savage, London 1983

Experimental. Aggro. Techno. Cutups. Alternative. Noise. Ambient. Musique
Concrete. Sound Collages. Performance Art. Difficult. Improv. Industrial?
So many names and so many labels. It gets confusing when from all around
us, publications continue to spew out more complex and different names in
an attempt to pinpoint a source, while at the same time converging on one
obvious thought: industrial. To demonstrate this idea, we could even trace
these origins of industrial back to dadaism if we wanted to. This FAQ file
is less an attempt to force people into their place and more to widen the
flow of information. Sharing the precious information allows us to
experience more in our learning than by strange militaristic actions.


< History >

It is generally accepted that the term "industrial music" was coined in
1976 when members of Throbbing Gristle formed Industrial Records. It was
to be a vehicle to explore a new form of expression through analysis,
presentation and aural stimulation. All of the individuals involved used
different means to achieve their goals, but the ideas they shared were
on common ground. Examples of early people on the industrial label
include Monte Cazzazza, Clock DVA, Cabaret Voltaire, Throbbing Gristle,
Leather Nun, and William S. Burroughs. Although critics felt they were
too deviant, their brand of confrontation signaled a desire for a change
in the political and social system currently in place. However bleak and
distressing, their music was merely a reflection of the society that
surrounded them. But what's really important is that they cultivated
ideas on topics ranging from serial killing to sex and censorship as well
as countless others which are not encouraged in genteel discussions. This
was the first strike against the information war launched by the
propaganda leaders and it positioned them as more than just a musical
movement, but a culture. To paraphrase, these essential ideas are the
makeup for the movement:

ORGANIZATIONAL AUTONOMY. A conscious choice to record independently. To
preserve the intention of music and to take it away from the tainted
and greedy major record companies who enjoyed success at others expense.

ACCESS TO INFORMATION. With the perception of control techniques leaving
any physical boundaries and moving into the realm of the mind and the mouth,
it was of vital importance to discuss and be aware at all times.

USE OF SYNTHESIZERS AND ANTI-MUSIC. Using found materials and unconventional
means of composition industrial music was more antagonistic to its intended
audience, than being music true itself. It was "sounds without content".

EXTRA-MUSICAL ELEMENTS. Because television became a more powerful agent
of control than any pop music song, the use of films and video arrangements
often accompanied these aural counter attacks.

SHOCK TACTICS. The final blow in the scheme for control has to be the use
of hitting home what you have to say, making sure that it gets noticed.
By far, this last technique is what is most often used by modern day
"industrialists" and most probably the connecting puzzle piece that gave
them such a distinction at all. Unfortunately, we've all witnessed death
and war so often in this day and age, that we're far too jaded to care,
rendering such an attempt almost useless.

Does this mean that industrial is now dead? Perhaps. But it cannot prevent
the presence of their past actions from being muted or lost. In the early
to late 80's a number of other groups began to interpret some of the audio
ideas to formulate their own territorial grounding. Mixing the use of new
technology, imaginative found (or homemade) materials, and the incorporation
of percussion and rhythm helped guide it into the new decade. Examples of
some of these bands would include: Non, SPK, Einstuerzende Neubauten,
Test Department, Laibach, Rhythm and Noise, Ono, and Trial.

By the end of the 80's, "industrial music" had more than just changed, it
had more or less, continued to progress and evolve alongside its society.
These days, it has often come to be known as electronic instrumentation used
to create a form of dance beats blended with harsh noises and sound bites
such as Skinny Puppy, Revolting Cocks, Ministry, Front 242 and Front Line
Assembly. Today, there are musicians who create industrial music from both
sides of the fence; and the list is ever growing.


< Our Charter >

rec.music.industrial is an unmoderated newsgroup which passed its vote for
creation by 411:80 as reported in news.announce.newgroups on 23 May 1991.

For your newsgroups file:
rec.music.industrial	Discussion of all industrial-related music styles.

The charter, culled from the call for votes:

Rec.music.industrial is for the discussion of all industrial-related music
styles, including traditional industrial (i.e. Einstuerzende Neubauten,
Throbbing Gristle, Cabaret Voltaire, etc.), dance-industrial ('cyberpunk'
i.e. Ministry, Skinny Puppy, Front 242, Foetus, etc.) and hard techno music
(i.e. Kraftwerk, etc.).  Reviews of new releases, related news items,
concert information, and other types of discussion are encouraged.


< Important Facts >

-> No member of Front 242 is a member of Bigod 20. Jean-Luc DeMeyer, the
lead singer of Front 242, was a guest on Bigod 20's song 'The Bog,' and he
sang it and wrote the lyrics. Aside from the similarities in the two bands'
music, this is the only direct connection between the two bands. (And also
the fact that they are five-letter words followed by numbers.)

-> The proper spelling for the band Negativland is without the 'e'. Their name
was lifted from the Neu album BLACK FOREST GATEAU. On that album one can find
tracks named "Negativland" and "Seeland." The first one is obviously the band
name, and the second is the name of the band's record label (before they got
on to SST, of course). Negativland means "negative country" or "country of
negativity" in German and Seeland means "country of the sea."

-> the NiN releases go as follows: Halo One is the 'Down In It' vinyl 12". 
Halo Two is PRETTY HATE MACHINE, Halo Three is the 'Head Like a Hole' 12"
and the CD single, Halo Four is the 'Sin' single, and the UK 'Head Like A
Hole' single is Haloless.

-> the correct definition of Einstuerzende Neubauten is "collapsing new
buildings" where "collapsing" is an adjective, not a verb. examples:

	einstuerzen - v., to collapse
	einstuerzende - adj., collapsing, in a state of collapse

Additionally, to be strictly correct on a Western keyboard, it should be
Einstuerzende (the proper way to indicate an umalut over the 'u' is to just
write it as 'ue').

-> Concerning folks in sKINNY pUPPY: Nivek Ogre's real name is "Kevin
Ogilvie". He grew up in Calgary. David Ogilvie is no relation to Ogre. The
same last names are a coincidence. He moved to Vancouver from Montreal in the
very early 80's. David Ogilvie's nickname is "Rave" and has been for a very
long time. Rave's wife (Rosie) is credited as "Mowse" on the old CLEANSE,
FOLD & MANIPULATE track 'Tear or Beat'. All of the above (and the other
members of the Vancouver cadre) are very nickname-happy. cEVIN and Dwayne
both have nicknames as well. Other people outside the camp get branded with
nicknames if they're around Rave or Ogre too long.

-> Just because sometimes "Rave" is listed and sometimes the more formal
"David Ogilvie" is listed doesn't mean they aren't the same person. There are
credits that say "Ogre" just as there are credits that say "K. Ogilvie".

-> "Green guy" is a context-sensitive descriptor. It can mean a particularly
potent form of Pot, or the person who is the delivery boy for said Pot. it
is also used as in the credits for some pUPPY albums.

-> the recording of sKINNY pUPPY's AIN'T IT DEAD YET was mastered as one
long track because it's intended to be listened to from start to finish, like
watching a concert. In order to get the whole experience, you have to listen
to the whole thing.

-> 1000 Homo DJs work was originally done as an Al Jourgensen solo project
concurrent with the LAND OF RAPE AND HONEY work. The vinyl EP of APATHY was
released  about six months post LORAH. When Al decided that Trent Reznor
should do the vocals for 'Supernaut', Steve Gotlieb (president of TVT), who  
was already unhappy with Trent because of his legal filings against him,
told Wax Trax that any productions using Trent Reznor's voice is in
violation of Trent's contract with TVT. So the CD5 was released with the
original Jourgenson vocals. the CD5 itself was released containing the two
new songs, 'Supernaut' and 'Hey Asshole' as well as what was on the APATHY
EP, 'Apathy' and 'Better Ways'.


< FTP servers >

-> The anonymous ftp address for this site is bradley.bradley.edu or
136.176.10.11 and for the most part contains the EFN back issues.
Also present are transcribed lyrics (currently Ministry and Negativland)
and a few discographies.

-> The discography archives are currently available via e-mail request
from datta@vacs.uwp.edu and via ftp:
	cs.uwp.edu (131.210.1.4)/pub/music/discog/*
There are currently over 225 discographies in the archives at this time,
submissions are always welcome. A sample FTP session/help file is also
available via mail request.

-> The general rule for all anonymous ftp sites is:

	1. When prompted for a user name, type 'anonymous'.

	2. When prompted for a password, type your full e-mail address.

This will work for the vast majority of ftp sites, including the two above.


< Directory of Record Labels, Mail Order Sources and Contacts >

MAJOR RECORD LABELS:
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
The Grey Area of Mute Records
5 Crosby Street, 5th floor
New York, NY.  10013

The Grey Area of Mute Records
attn: John McRobbie
429 Harrow Road,
LONDON, W10 4RE

Nettwerk Productions
1755 Robson Street, Box 330
Vancouver BC, Canada
V6G1C9

PIAS-US/Caroline Records
114 WEST 26th Street
New York, NY. 10001

Play It Again Sam Records
90 Rue de Veeweyde
1070 Brussels, Belgium

WaxTrax! Records
1659 N.Damen Avenue
Chicago, IL.  60647

DISTRIBUTORS AND SMALLER RECORD LABELS
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Artware Audio
Taunusstrasse 63B
D-6200 Wiesbaden, Germany

Barooni
PO Box 12012
3501 AA Utrecht
The Netherlands

Cthulhu Records
c/o R. Kasseckert
Im Haselbusch 56
4130 Moers 2, W. Germany

Death Of Vinyl Entertainment			
2 Bloor Street West				
Suite 100-159					
Toronto, Ontario				
Canda M4W3E2

DOM
Horngasse 2
5100 Aachen, Germany

Dom America
P.O. Box 971
Olympia, WA 98507

Charnel House Productions
P.O. Box 170277
San Francisco, CA 94117-0277

Front De L'est
13 Rue Verrier Lebel
80000 Amiens, France

Flying Esophagus Productions
1030 W.Olive Ave. #6
Sunnyvale, CA.  94086

Independant Project Records
544 Mateo Street
Los Angeles, CA.  90013

IRRE-Tapes
Matthias Lang
Barendellstrasse 35
6795 Kindsbach, Germany

Korm Plastics
c/o Frans de Waard
Opaalstraat 19
6534 XK Nijmegen, Holland

Ladd-Frith					
PO Box 967					
Eurekea, CA. 95502				

Normal Records
Bonner Talweg 276
5300 Bonn 1, W. Germany
Tel 0228-213041
	
Nux Organization
3-690-47 Hibarigaoka
Zama, Kanagawa,
Japan 0462-52-0579

Priapismus
c/o Franz Liebl
Steinerweg 14
D-8000 Munchen 60, W. Germany

RRRecords
151 Paige Street
Lowell, MA. 01852

Silent Records					
540 Alabama, 310				
San Francisco, CA 94110				

Soleilmoon Records
PO Box 83296
Portland, OR.  97283

Sound of Pig					
c/o Al Margolis					
PO Box 150022					
Van Brunt Station
Brooklyn, NY  11215

Staaltape Records				
PO Box 11453					
1001 GL Amsterdam				
The Netherlands

Subterranean Records				
PO Box 2530					
Berkeley, CA.  94702
(415) 821-5880

Turbine Cassettes
P.O. Box 4585
Santa Clara, CA.  95056-4585

Vis-A-Vis Audio Arts				
2-12-3 Hamadayama				
Suginami, Tokyo 168 Japan
	
V2 Organization
Muntelstraat 23
'S-Hertogenbosch, Netherlands


MAIL ORDER SOURCES AND 'ZINES
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Bananafish
P.O. Box 424762
San Francisco, CA. 94142-4762

Cadence
Redwood Bldg.
Redwood NY. 13679

Electronic Cottage International Magazine
P.O. Box 3637
Apollo Beach, Florida 33572

The Evolution Control Committee			
P.O. Box 10391					
Columbus, Ohio 43201

File 13
P.O. Box 175
Concord, MA. 01742

Gajoob Magazine
P.O. Box 3201
Salt Lake City, UT. 84110

Music From The Empty Quarter
P.O. Box 87
Ilford, Essex, IG1 3HJ, UK

N-D Magazine
P.O. Box 4144
Austin, TX. 78765

Negativmailorderland
c/o T.E.C.Tone/Ralph Records
109 Minna St #391
San Francisco CA 94105   USA

The Ooze					
2190 W. Burnside St.				
Porland, Oregon, 97210				

S/M Operations					
P.O. Box 611282					
Port Huron, MI 48061				

Sound Choice Magazine
P.O. Box 1251
Ojai, CA. 93023

Technology>>Works Magazine
c/o Paul Moore
P.O. Box 477
Placenta, CA. 92670-0477

VITAL Magazine
Opaalstraat 19
6534 XK Nijmegen
HOLLAND

Wayside Music
P.O. Box 8427
Silver Spring, MD. 20907-8427

We Never Sleep
c/o Paul Dickerson
P.O. Box 92


-- 
Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.
Newsgroups: rec.music.industrial