WhiteWarlock wrote: ↑Tue Feb 18, 2020 3:51 am
"Noise" is the process of experimenting with sounds/gear for expanding/defining/refining/discovering your own style.
Or is the legacy of radical art theory and practice....!
WhiteWarlock wrote: ↑Tue Feb 18, 2020 3:02 am
Labes that release Vinyl and other physical formats worldwide...
currently active after all these years...
There are so many various classifications of what is "Industrial".
Don't worry about it all so much & play with your new gear more instead of master debate.
Industrial is fairly easy to categorize, from which, under the influence of Whitehouse, was pushed into Power Electronics. Industrial can be traced to Throbbing Gristle xe2x80x9c1976 by industrial music group and performance artists Throbbing Gristle.xe2x80x9d So from the start it had links with Art, notably the performances and exhibitions at the Institute of Contemporary Art in The Mall, London. (Funded by The Arts Council from at least 1968) And already the use of 'shock' tactics, pornography and nutsy atrocities, xe2x80x9cIt (The Second Annual Report ) came in bootleg-like packaging: a plain white card sleeve with glued-on xerox information strips. The Industrial Records logo is a stark black and white depiction a low-definition photo of an Auschwitz crematory.xe2x80x9d Thus establishing the imagery and graphic tone of much that was to follow. This beginning @ the ICA is notable, xe2x80x9cfounded by Roland Penrose, Peter Watson, Herbert Read, Peter Gregory,xe2x80x9d a centre for multi-disciplinary debate, combined with avant-garde art exhibition and performances, within a framework that emphasised a radical social outlook.xe2x80x9d Pat asked about the influence of the left in art, and here is an example. xe2x80x9cFor a period during the 1970s the Institute was known for its often anarchic programme and administration. xe2x80x9c AKA the exhibitions and performances of TG et al. xe2x80x9cWhitehouse specialised in what they call "extreme electronic music". They were known for their controversial lyrics and imagery, which portrayed sadistic sex, rap, misogyny, serial murder, eating disorders, child abuse, neo-nutsy fetishism and other forms of violence and abjection.
Whitehouse emerged as earlier industrial acts such as Throbbing Gristle and SPK were pulling back from noise and extreme sounds and embracing relatively more conventional musical genres. In opposition to this trend, Whitehouse wanted to take these earlier groups' sounds and fascination with extreme subject matter even further...xe2x80x9d I suppose paedophilia being a limit at which the push towards being ever more extreme had to stop.
So from the get-go the graphic imagery and interests were already established within the academic and intellectual framework of the ICA. Underpinned by the modernist ethos of pushing boundaries. Regardless of knowledge of this or not the whole genre of extreme performances of PE and certain noise acts derives from that, and not from any experimenting in order to establish some xe2x80x9cown stylexe2x80x9d.
It's fairly obvious then the next step from a negative (as far a conventional social mores) ideology, was the removal of ideology altogether, and so Harsh Noise and Harsh Noise Wall.
I don't worry about this, i'm very familiar with the development of late modernity and the subsequent collapse of the art object, and post modernity.
That some may want to deny this or be ignorant of it is an obvious way of dealing with what is a crisis. There is of course a certain irony, which the Chapman's play with, that the very extremes that Whitehouse employed had, were and still are practised by the very establishment they thought they confronted. This goes back to at least Lord Byron, maybe before, but certainly is a legacy of Romanticism's interest in violence, the occult and transgression.
