HDTenEightyP/NetNews huggingface dataset:
From: bp271@cleveland.Freenet.Edu (Matthew N. Sharp)
Subject: Day - Late informative post for those not in the know
Organization: Case Western Reserve University, Cleveland, Ohio, (USA)
Date: Fri, 14 Aug 92 04:26:13 GMT





John Cage died yesterday.



Thank you, Baby Jesus
-- 
Matthew Neill Sharp
bp271@Cleveland.Freenet.Edu
From: omf@tiamat.hacks.arizona.edu (Oscar Fowler)
Newsgroups: rec.music.industrial
Subject: Negativmailorderland Address
Date: 20 Aug 92 16:22:48 GMT
Reply-To: omf@tiamat.hacks.arizona.edu
Distribution: world,local
Organization: Sirius Cybernetics Corporation
News-Software: VAX/VMS VNEWS 1.4-a4

Hi folks - I got a reply from Negativmailorderland a couple of weeks
ago stating that they were in the process of moving.  Could someon
post the new address once it's available?

Thanks 

#############################################################################

               "If you can't lick'em, put 'em on with a big piece of tape."

Oscar Fowler
omf@tiamat.hacks.arizona.edu
From: lxg7@po.CWRU.Edu (Laura Gelfand)
Newsgroups: rec.music.industrial
Subject: Re: NIN new album news!
Date: 19 Aug 92 15:45:40 GMT
Reply-To: lxg7@po.CWRU.Edu (Laura Gelfand)
Organization: Case Western Reserve University, Cleveland, OH (USA)


In a previous article, saxe_dh@jhunix.hcf.jhu.edu (Dean H Saxe) says:

>In article <77731@ut-emx.uucp> alex@fiskville.mc.utexas.edu writes:
>>Dean H Saxe writes
>>>[...]
>>> be good.  Last interview I heard with Trent had him describing a much  
>>harder
>>> & angrier album.  Should be great!
>>
>>
>>Nah, old Trent has been hanging out with Al Jourgensen for way too long  
>>(take a close look at Pigface) and I think this association will have  
>>destroyed the subtle touch which made _Pretty Hate Machine_ so cool. All  
>>thrash and guitar and distorted screaming (while great for Ministry  
>>et.al.) won't stand up to Trent's previous offering (IMHO).
>>
>>
>>Alex.
>
>I don't really know, but fromthe one or two songs he promised would be on
>his next album that he played in Houston last summer, it sounds like he is
>telling the truth.  I don't think it will be an album like Ministry or
>Pigface put out, but somewhere in the middle between that andolder NIN.  But
>then again, I could be wrong.  So sue me.
> 
>___________________________________________________________________
>| "Who am I trying to impress?   |          Dean H. Saxe          |
>|  Who could care less?"         |   saxe_dh@jhuvms.hcf.jhu.edu   | 
>| 		     --Ministry  |   saxe_dh@jhunix.hcf.jhu.edu   |
>|--------------------------------|---------------------------------
>|  All opinions expressed herein Copyright 1992, DHS Enterprises  | 	
>-------------------------------------------------------------------

Having just heard a tape of the new Broke ep. by Mr. NIN I can tell 
you first hand that it is exactly what you predicted.  I give it a sixty
nine.  Its got a good beat  and the kids will dance  to it.  Not to mention
eat it up.
Newsgroups: rec.music.industrial
From: weitzman@chaos.cs.brandeis.edu (Adam J. Weitzman)
Subject: Be sure to tell your mother that SATAN! (was: Re: Music to kill by)
Keywords: Butties, axe-wielding mania
Organization: Brandeis University
Date: Thu, 20 Aug 1992 14:57:34 GMT

In article <1992Aug18.103145.202426@uctvax.uct.ac.za> dknren01@uctvax.uct.ac.za writes:
>The first track of Butthole Surfers' album "Locust Abortion Technician" (I
>think it's called Satan), though I don't suppose that counts as industrial.

Isn't that song called "USSA"?

Also, is that where Orbital got their sample at the beginning of their song
"Satan," or did they both mutually sample it from somewhere else?
-- 
					- Adam J Weitzman
					  weitzman@chaos.cs.brandeis.edu

"CONNECT THE GODDAMN DOTS!!!" - Ministry
From: trudel@athos.rutgers.edu (Jonathan)
Newsgroups: rec.music.industrial
Subject: Re: "Tragedy for You"'s 10th track
Date: 14 Aug 92 18:18:42 GMT
Organization: Rutgers Univ., New Brunswick, N.J.

front242+@pitt.edu (Brian R Iwaskewycz) writes:

>First, I suppose I should apologize if someone else has already posted this...

>Am I the only one who has a "secret track" after the tenth on "Tragedy for 
>You?"  There is about two minutes of silence after the tenth track, and then
>here comes this super fast (about 260 bpm) slammin' techno tune, followed by
>a sort-of remix of one of the other songs on the disk.


Nope, The missing two minutes is to catch the fools who think it's
over even though the disk is still spinning.
Newsgroups: rec.music.industrial
From: rmartin@ccu.umanitoba.ca (Richard Martin)
Subject: Re: Moshing? What the fuck...
Organization: University of Manitoba, Winnipeg, Canada
Date: Thu, 13 Aug 1992 23:05:18 GMT


>There is a difference between slam dancing and moshing "Slam" dancing implies
>just how it sounds dancing around slamming into other people in the crowd, and
>as far as I know originated with punk bands, Moshing on the other hand is just
>people runnign around in a circle flailing their limbs about and became quit
>popular at Thrash Metal concerts (Thus the Anthrax song "Caught in a Mosh") the
>main difference between the two is that with moshing the intent is not
>necessarily to run into or hurt anyone but it does happen anyways.  Lately it
>seems though Moshing has been used to refer to something more along the lines
>of slam dancing.  Moshing howver doesn't take place anywhere near the stage
>rather in the space that is left behind the crowd once everyone runs up to the
>stage when the band starts playing.  And is generally more peaceful than
>slamming. :)

>								-Lee


Boy, I sure am glad someone straightened out this highly controversial
conflict. Now, what if a Metallica fan was at a rave, but wanted to slam
dance although others were moshing? Should he/she:

1. stay at the rave and slam.
2. stay at the rave but mosh.
3. stay at the rave but maybe get a smart drink.
4. go home because no one will hit him.
5. find another party where you can actually have a good time without
having to worry about getting your fuckin' head kicked in by an anal
retentive shmuck who have to label everything before he can do something
enjoyable. "gee, it looks like everyone is moshing
tonight ....no....wait.......I think they are slamming....no wait....they're
just moshing badly....no........wait.....I'm at a rave.....they must be
disco-ing...wait....oh, its just a dog show.  Damn, I though I was in for
a good time....


I would really truely like to know why some people get so upset when
someone has a different labelling system. 

R. Martin
Noise.

Yah, I know I can't spell worth beans......

--- a raving punk head banger who sometimes listen to country, but only if
it has that hip-hop/techno/industrial/cyberpunk/mosh-inducing (not
slamming)/reggae/acid feel to it---------- its all just noise, you know.
Newsgroups: rec.music.industrial
From: lombardo@cwis.unomaha.edu (Marc Lombardo)
Subject: Mixing Musexx
Organization: University of Nebraska at Omaha
Date: Sat, 22 Aug 1992 04:09:35 GMT

Would someone give me some ideas and tips on mixing music without using
a record player?  I would like to avoid using vinyl as much as possible
for the time being, as I am only experimenting with mixing music, and I
would rather avoid having to re-buy all of my 242 on vinyl (as if it
all exists on vinyl..)  

Anyway, here is the equipment I plan on using:

	Two CD players; a Pioneer and a JVC .. both are of exceptional
		quality, are there features that I need that aren't on
		your average cd player, tho?

	Two cassette recorders (no, not multitrack...) Both having dubbing
		capabilities, as if that mattered.

	One 10 input mixer board.  I haven't used this much, but if someone
		could give me a couple hints how to achieve cool effects
		for mixing with the different low med high frequency
		level knobs and reverb stuff?

	One Atari ST computer with a digitizer (mono) and 2.5 megabytes
		of memory.  This should hold PLENTY of high quality
		samples to throw into songs ...


	One Roland Synthesizer.  I don't have too many details on the keyboard,
		but I'm not very good on piano, so I won't be using it
		too much...


Now, here was my first idea on how mixing was done.  I created several 
loops from various songs (for example, one loop from Shamen's Move Any 
Mountain, and another from their Make It Mine) then, I would sample various
things and play them over the loop.... this would HARDLY sound good at 
all.  But, doing it that way I would only be using two inputs of the
mixer board.  There has to be another way of doing this...

Here are some effects I would like to achieve:

	Extremely slow play speed to normal play speed.  Although easy
		on a record player, how could I do it with the equipment
		I have?  Example of this effect is in 242's second
		'hidden' track on TFY ... right at the beginning... That
		sounds c00l

	Switching from one part of a song to another with a CLEAN transfer.
		For example, lets say I want to play Move any Mountain
		and in the middle switch to a slower 666 rhythm and
		then switch to Make It Mine ... can it be done?  

	Distorting the song as its played through the mixer ... increasing 	
		bass and nearly eliminating vocals, etc... varying the
		echo, adding an ambient effect as the song is played
		through  (possibly making a transition easier?)

	Syncing a sample (take something like 242s "No Sex Until Marriage")
		with a rhythm from a song that wasn't make around that
		sample (take Shamens 666 Edit) ... 



	If you have any other effects that you have found really make your
mixes sound cool, please send them along.  I am extremely into industrial
music, and I can't wait to start mixing some stuff.

Any help (ANY help, even sarcasm) is GREATLY appreciated... 

BUT, send all flames to /dev/null

Newsgroups: rec.music.industrial
From: pashdown@javelin.sim.es.com (Pete Ashdown)
Subject: Meat Beat (was: Sheep)
Organization: Evans & Sutherland Computer Corporation
Date: Fri, 21 Aug 1992 21:07:38 GMT

earle@poseur.JPL.NASA.GOV (Greg Earle - Sun JPL on-site Software Support) writes:

>Did anyone else notice the upcoming gig in England, with Sheep on Drugs,
>Meat Beat Manifesto and Young Gods?  I think it's at the end of this month,
>around the 29th?  Or was it early September ...

So, with the rumblings of Meat Beat Manifesto touring around, does this mean
we'll see some new releases soon?  They're way overdue.
-- 
MAIL ME about EXPENSIVE CDs!AMGIA 4EVR!SF2RULEZ(my license plate)!AlexP=MY.HERO

DISCLAIMER: My writings have NOTHING to do with my employer.  Keep it that way.
Pete Ashdown    pashdown@slack.sim.es.com    ...uunet!slack.sim.es.com!pashdown
Newsgroups: rec.music.industrial
From: rob@dexter.psych.umn.edu (Robert Stephens)
Subject: Re: Meat Beat (was: Sheep)
Organization: University of Minnesota
Date: Sat, 22 Aug 1992 18:26:02 GMT

As far as Meat Beat is concerned, they're
not even the same group anymore.  It's pretty
much just one guy from the original group, so any
future releases could not really be expected to
sound anything realted to the other releases.
 
Speaking of MBM, anybody out there have some
GIF's from this group?

-- 
---------------------------------------------
Robert C. Stephens   rob@dexter.psych.umn.edu
---------------------------------------------
Human Factors Research Laboratory
University of Minnesota
60 Norris Hall
172 Pillsbury Dr. SE
Minneapolis, MN  55455
---------------------------------------------
Phone: (612) 626-7521
---------------------------------------------
From: jon@cunixf.cc.columbia.edu (Jonathan Nowitz)
Newsgroups: rec.music.industrial
Subject: Re: Moshing? What the fuck...
Date: 14 Aug 92 14:22:58 GMT
Reply-To: jon@cunixf.cc.columbia.edu (Jonathan Nowitz)
Organization: Columbia University


-----------included from article by MATTHEW NEILL SHARP-------------
>I love it!!  Of course, those of us with very short brush cuts don't even fit
>in
>to your 
>formula.  How about (#mohawks * .75 + #brush * .25) / #longHairedHooligans.
>
>Anyone else feel left out?
(continued by Jonathan Nowitz, (jon@cunixf.cc.columbia.edu))
<Actually, I do.  Anyone with bangs down to their chin and a 1/4 inch buzz
<cut probably belongs somewhere in the numerator... unfortunately, my
<mohawk comes and goes pretty much on a whim (never gets very long, of
<course).

[...]

Still trying to grow my CYPRESS HILL fro,
-- 
Matthew Neill Sharp
bp271@Cleveland.Freenet.Edu

-------------------end include------------------------

Oh boy.  I've been quoted by Matt.  My life is complete.
/jon   (jon@cunixf.cc.columbia.edu)    =~:)
Newsgroups: rec.music.industrial
From: jwk3@po.CWRU.Edu (John W. Kale)
Subject: Re: Arb UCT post: Music to kill by
Reply-To: jwk3@po.CWRU.Edu (John W. Kale)
Organization: Case Western Reserve University, Cleveland, OH (USA)
Date: Wed, 19 Aug 92 03:32:47 GMT


In a previous article, vhspet01@uctvax.uct.ac.za (Peter van Heusden) says:

>Now for an arbitrary post:
>
>Anything to keep this group alive at UCT:
>
>Anyway, a topic:
>Music to kill by:
>
>What would be your favourite music to annilate objects by?
>
	This isn't the kind of post I usually post a followup
on, but, on the principle of what the hell...
	Hoping it isn't too obvious a choice: Mininsty's "Flashback."
After all, the lyrics are about torturing someone to death, as
far as I can tell.

-- 
Looking down the barrel of a loaded gun  |       John Kale          ''''
Just to see where the bullets come from! |   jwk3@po.cwru.edu       -o-o
        -Screaming Blue Messiahs         |                   ---UUU---U--UUU--
   --->SUSPICION BREEDS CONFIDENCE - Dept. of Records' Motto, "Brazil"<---
From: nivekogr@athena.mit.edu (Christopher M Teixeira)
Newsgroups: rec.music.industrial
Subject: Re: Test Dept discography
Date: 18 Aug 92 21:41:50 GMT
Organization: Massachusetts Institute of Technology

In article <TSDAVIES.92Aug13024924@rodan.syr.EDU> tsdavies@rodan.syr.EDU (Real life?  Ha!) writes:
>
>I've included this interview snippet in the discography.  If you (or
>anyone else) has any additional information, please send it to me.
>
   The additional information I was wondering about was 'Does a good
 quality recording of this performance exist?'  I have a recording of
 this performance (which was done in 1985, not '84 as I had originally
 stated) which is of inferior quality and was hoping a better quality
 recording existed.

 -Chris Teixeira
From: xorcist@cyberden.uucp (Xorcist)
Newsgroups: rec.music.industrial
Subject: FLA/CONTAGIN/PUPPY (T-Shirt Prices)
Date: Sat, 15 Aug 92 18:36:50 PDT
Organization: Indescribable Creations

I read in a marketing mag (music) that the only way a corporation can
make money is through product. T-Shirts, Sweaters, Posters, Mugs, Condoms,
Knives, ANYTHING that can be purchased. The Skinny Puppy show yeilded
what, about $20 a head to get in. Figure security, stadium rental, PA, etc...
You're looking at around .02 cents for the label and maybe $3 for the artist
per head.

BUT...

600 people times 1 item at a show averaging $15 in cost = $9000 of sheer
moola for the record corp. * that by # of venues and that's where the money
is.... so the article says...

It makes sense to me... although I would never pay more then $12 for a
stupid ass shirt, a lot of people do, which is fine...

A major label (Capitol) doing shirts like Puppy's at $2 each in their quantity
and then selling them for $20 and $30 should be shot in the head with a
hollow point for ripping off the consumer in such a blatent way...
What the fuck ever happened to shirts were $10 (Ministry at SCREAM for
their Land of Rape and Honey tour)... Those days seem to be gone...


After I printed up shirts for Xorcist, and I did it the most expensive way,
which is small quantity, Joe Schmoe/no discounts for you, it
came out to about $10 a shirt (2 color heavy blk T) so $15 is probably
a fair price for them. (Even though I sell them for $10).

Contagin/Biohazard/<name of the week>'s prices are realistic, but
until they get a real following, I think theirs are about $5 too high...
Again, it's all a status symbol, "lookie what I got" game...

...now Go out there and 'Git yer fuggin T-Shirt!

<X>orcist

__________________________________________________________________________
   |       /         |\
   | H E   \ Y B E R |/ E N       [ moon!cyberden!xorcist@well.sf.ca.us ]
From: awrc@dcs.ed.ac.uk (Al Crawford)
Newsgroups: rec.music.industrial
Subject: Re: Chris Connely & Fini Tribe
Date: 21 Aug 92 13:47:49 GMT
Reply-To: awrc@dcs.ed.ac.uk (Al Crawford)
Organization: The University Of Edinburgh - Department Of Computer Science

In article <1992Aug21.080607.25765@news.uit.no> vidarh@stud.cs.uit.no (Vidar Hanssen) writes:
> Has anyone heard these new releases:
>
> CHRIS CONNELY & FINI TRIBE: Come Down Here  CDS
> CHRIS CONNELY:  Phenobarb Balm  CD

No, but with the discussion wandering around the vicinity of the Finiflex
label, I thought I might share a little info with the net re Finiflex,
gleaned from a recent interview on a local radio station.

Finiflex the label is about to come back into action in its own right. What
they're going to be doing is hitting record shops/DJs with sample copies of
*possible* new releases and then releasing stuff on the basis of the
feedback they get.  They said that due to having most stuff on DAT and
access to a CD source with fast turnaround, they could go through this
cycle in as little as a couple of weeks. Should be a nightmare for
collectors :-)

They may also be taking on other artists. One possible candidate are [NON
INDUSTRIAL WARNING - THIS POSTING IS ABOUT TO TAKE A SHARP RIGHT TURN AND
VEER WILDLY AWAY FROM R.M.I. TERRITORY] Sparks. The FiniTribe guys have
been out in California recently and have been remixing some material for
the Mael brothers. They're currently without a deal and if, as seems
likely, they can't interest any majors their new material, it may well
appear on FiniFlex in the Flexible format mentioned above. The interview
included one of the remixes they've done, a track from a film soundtrack
called "National Crime Awareness Day" (or something similar). Sparks appear
to have gotten pretty dancy while still remaining undeniably Sparks.

We now return you to your normal service...

--
			Al Crawford - awrc@dcs.ed.ac.uk
	  Department Of Computer Science, The University of Edinburgh
   Rm 1410, JCMB, Kings Buildings, Mayfield Rd, EDINBURGH, EH9 3JZ, Scotland
	     Tel: +44 (0) 31 650 5165  Fax: +44 (0) 31 667 7209
Newsgroups: rec.music.industrial
From: osiris@athena.mit.edu
Subject: Re: Moshing? What the fuck...
Organization: Massachusetts Institute of Technology
Distribution: rec.music.industrial
Date: Sat, 15 Aug 1992 00:50:14 GMT

maybe what you are thinking is moshing is just when people get violent
enought that they are able to clear a space in the crowd in which they
run around.  That is a result of fear on the crowd's part, and not an
unwillingness to get hit on the mosh/slamdancer's part.  It is also
great fun (almost as much as getting hit).

-marcel
--
--+  I am, therefore I am a target.		osiris@athena.mit.edu
--+  Anonymous email:			 wi.5559@wizvax.methuen.ma.us
--+  I would include a disclaimer, but that would imply that my 
--+  employer cared.
From: wlamonac@handel.helios.nd.edu (william lamonaca)
Newsgroups: rec.music.industrial
Subject: FTP Sites
Date: 14 Aug 92 17:50:38 GMT
Organization: University of Notre Dame, Notre Dame

Could someone please post or email me the FTP sites for music GIFs?
Thanks, Bill.
From: pashdown@javelin.sim.es.com (Pete Ashdown)
Subject: Re: Industrial aesthetics and design -- interior decorating
Organization: Evans & Sutherland Computer Corporation
Date: Fri, 14 Aug 1992 14:56:19 GMT

aruss@oucsace.cs.ohiou.edu (Andrew Russ) writes:

>	foreword by Emilio Ambasz

>	In his foreword to HIGH-TECH, Emilio Ambasz, prizewinning architect
>and designer and former curator of design at the Museum of Modern Art, 

What a small planet this is.  My brother used to be Ambasz's assistant.

I'll be signing autographs from 1:30 to 3:30 today.
-- 
			  I'm not wearing any pants.

DISCLAIMER: My writings have NOTHING to do with my employer.  Keep it that way.
Pete Ashdown    pashdown@slack.sim.es.com    ...uunet!slack.sim.es.com!pashdown
From: pauly@hardy.u.washington.edu (Sky Cries Mary)
Newsgroups: rec.music.industrial
Subject: music blah blah blah
Date: 18 Aug 92 19:57:32 GMT
Article-I.D.: u.1992Aug18.195732.11628
Organization: University of Washington

At the Washington State Lollapalooza, Ministry was the loudest performance ever to be played at the fairgrounds it was held at.  I think it was at 118 decibles.  But the way the fairground is situated (across from a football stadium and next to a HUGE mountain) it sounded a lot louder and had this incredible 3 way delay sound.

Anyways, here's a bit of ministry trivia for you people.  
What did Al Jorg do before becoming a musician?  Like long before...

(answer next message)
From: 2767hoffmanj@vms.csd.mu.edu
Newsgroups: rec.music.industrial
Subject: DAVID KLUG
Date: 14 Aug 92 23:08:13 GMT
Article-I.D.: vms.0095F174.348F61C0
Reply-To: 2767hoffmanj@vms.csd.mu.edu
Organization: Marquette University - Computer Services

Does anyone know D. Klug or how I may get in touch with him...
I was to work out a trade with him and I lost his address. I have his stuff
and I have no desires to be labelled a deadbeat...I would like to complete
this trade...so if anyone can help please do so...
Thanks in advance I hope...
Justin Hoffman
2767HOFFMANJ@VMS.CSD.MU.EDU
Newsgroups: rec.music.industrial
From: rmartin@ccu.umanitoba.ca (Richard Martin)
Subject: Music Concrete (concrete music)
Summary: Music Concrete (concrete music): definition
Keywords: Music Concrete Industrial definition
Organization: University of Manitoba, Winnipeg, Canada
Date: Wed, 19 Aug 1992 23:22:57 GMT

Just found this the other day....kinda interesting

It was taken from : Harvard Dictionary of Music
		    Willi Apel
       		    Second Edition, 1972.
		    Belknap Press
		    Cambridge, Massachusetts


Music Concrete (concrete music)

	A musical development introduced c. 1948 by Pierre Schaeffer in
Parris, which derived from experiments with recorded sounds and
broadcasting in the Studio d'Essai of the French radio. Its basic idea is
to replace the traditional material of music (instrumental or vocal
sounds) with recorded sounds obtained from many different sources, such as
noises, voice, percussion, and others. As a rule this material is
subjected to various modifications: a recorded sound may be played
backwards, have its attack or resonance cut off, be reverberated in echo
hcambers, be varied in pitch by changing the speed of the record or
playback, be modulated in various ways, etc. The montage of the resulting
sounds on a single or multitrack tape has been compared to the collages of
certain 20th-century painters. It eliminates the performer, and hence also
the raison d'etre of a score. 

	Now, As you may or may not know, I am NOT one for labelling,
but....take this as you will, I just found it interesting. I did not get
this from the original text, so it may be a bit  off from the original.
Hopefully not too much!!!

R. Martin
Noise.


Xref: sparky rec.music.industrial:9384 alt.rave:2294