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Assimilate: A Critical History Of Industrial Music [Englisch] [Taschenbuch]

S. Alexander Reed

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5. Juni 2013
"Industrial" is a descriptor that fans and critics have applied to a remarkable variety of music: the oildrum pounding of Einstürzende Neubauten, the processed electronic groans of Throbbing Gristle, the drumloop clatter of Skinny Puppy, and the synthpop songcraft of Vnv Nation, to name just a few. But the stylistic breadth and subcultural longevity of industrial music suggests that the common ground here might not be any one particular sound, but instead a network of ideologies. This book traces industrial music's attitudes and practices from their earliest articulations--a hundred years ago--through the genre's mid-1970s formation and its development up to the present and beyond.

Taking cues from radical intellectuals like Antonin Artaud, William S. Burroughs, and Guy Debord, industrial musicians sought to dismantle deep cultural assumptions so thoroughly normalized by media, government, and religion as to seem invisible. More extreme than punk, industrial music revolted against the very ideas of order and reason: it sought to strip away the brainwashing that was identity itself. It aspired to provoke, bewilder, and roar with independence. Of course, whether this revolution succeeded is another question. . .

Assimilate is the first serious study published on industrial music. Through incisive discussions of musicians, audiences, marketers, cities, and songs, this book traces industrial values, methods, and goals across forty years of technological, political, and artistic change. A scholarly musicologist and a longtime industrial musician, S. Alexander Reed provides deep insight not only into the genre's history but also into its ambiguous relationship with symbols of totalitarianism and evil. Voicing frank criticism and affection alike, this book reveals the challenging and sometimes inspiring ways that industrial music both responds to and shapes the world.

Assimilate is essential reading for anyone who has ever

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Well-written and impeccably researched, Assimilate is worth a look not only by music fans looking to learn about this industrial wall of sound, but also by scholars of pop culture wondering why the kids feel the way they do. Electric Review

Über den Autor und weitere Mitwirkende

S. Alexander Reed is Assistant Professor of Music Theory at the University of Florida. He has published and presented research on vocal timbre, embodiment, postpunk music, and the recordings of Nine Inch Nails, Laurie Anderson, Rammstein, and Tori Amos. Reed has released five albums with his own gothic-industrial band, ThouShaltNot.

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Die hilfreichsten Kundenrezensionen auf (beta) 4.9 von 5 Sternen  7 Rezensionen
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5.0 von 5 Sternen One of a Kind 25. Mai 2013
Von Eric Stueville - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
ASSIMILATE by S. Alexander Reed has written a solid history of industrial music. The much maligned "industrial" moniker is addressed by the players involved and queried by an astute researcher. This is probably the first comprehensive study of Industrial music presented on a wide scale (at least, the first I've read). In addition to multi-page discussions of fan favorite industrial/electronic songs like "Mindphaser" by Frontline Assembly, cultural ramifications of the industrial genre are addressed. As an aside, I've from time to time wondered about some of the racial, political, and sexual implications made by this awesomely demonstrative form of music and Reed's book does not shy away from these subjects. Reed embarks on rich exploration of the roots of industrial via literature, philosophy, and film and provides compelling histories of the origins of Skinny Puppy and the rise and fall of the seminal WaxTrax! label. Reed pushes into the next wave, discussing recent favorites such as Covenant and VNV Nation. This is a thoughtful summation by a readily apparent fan and capable author. If the text suffers, it is in it's pursuit of academic defense which should not diminish it's veracity, just that the narrative can drag and apparent points are made redundant. However, that criticism should not dissuade you from a definitive discussion of "industrial"/ hard electronic music
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5.0 von 5 Sternen Comprehensively Accessible 17. Juni 2013
Von Philip Sandifer - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
Industrial music can, to say the least, be somewhat inaccessible. This is, of course, the point and what's so interesting about it, but it can also be something of a problem for appreciating it. This book does an extraordinary job of capturing the fascinating depth of the topic while rendering it accessible to a neophyte reader. It's gobsmackingly thorough and detailed, but never in a way that feels snobbish or exclusionary. Accessible history abuts reasoned criticism and, occasionally, more experimental tacks that owe a clear debt to the music itself. Quite simply a must-read for anyone interested in the history of the avant garde.
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5.0 von 5 Sternen Strong on concepts and early history, weak on later developments 2. Oktober 2013
Von Pope Guilty - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
This is an excellent book which is far more interested in the hows and whys of industrial music than it is on chronicling it. The author lays out the philosophies and theories that underlie and animate industrial, giving the genre the serious theoretical treatment it deserves. The history of industrial music that is given is focused quite firmly on the early years, and the history starts to really suffer around 2000 or so, as the mass popularity of industrial rock faded. I got the impression that the "history" in the title was very much in service to the "critical", rather than being an equal partner. That said, I don't want to oversell it- this isn't "Please Kill Me", that history of punk rock which has the Ramones show up late in the book and pretends that punk rock was nearly over at that point- but if you want information about the last ten years of industrial music aside from futurepop, you won't find it here.

With that caveat, however, I must say that I thoroughly enjoyed it and would recommend it to anybody with an interest in the subject.
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5.0 von 5 Sternen Excellent and Engaging Read 20. Juni 2013
Von John David Eriksen - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
Very deep and insightful exploration of the places and musicians that contributed to the collection of sounds collectively known as industrial. Highly detailed yet very clear and accessible writing throughout. The author's love and appreciation of the genre shines through and makes this a very fun and inspiring read for fans of the genre.
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5.0 von 5 Sternen Uncovers the rich history of the genre 13. Januar 2014
Von scottdnz - Veröffentlicht auf
Format:Kindle Edition|Verifizierter Kauf
I found this book full of stimulating ideas and very well-researched. It was great to learn a lot of the obscure band backgrounds and other stories that are just difficult to find if you haven't been a hardcore "industrial" fan for the entire last four decades. As a teenager of the 1990s I realised I was like some of the later wave fans who missed the big picture of had what passed before. It's been great learning about early greats like Cabaret Voltaire and Einsturzende Neubauten, and how a lot of the bands I grew up with like Nine Inch Nails are actually widely derided as examples of the time when industrial went "sell-out".

There are many fantastic and insightful song analyses which really helped my understanding of some dense music pieces. (I'm glad I'm not the only one who finds Nivek Ogre "unintelligible"!) I really like some of the questions Reed raises in the book, some of which you only find by reading between the lines. For example, is the genre Euro-centric and originating from a position of privilege, failing to address many of the questions a combative, challenging and sometimes "revolutionary" art form should? Lots to think about. I appreciated the emotional and intellectual honesty of the author, who even includes a snippet of his own rock journalist's diary, which I thought quite wonderfully shows his own credentials openly as a fan of the music.

In my Kindle edition the Notes section had split each note onto a separate page, which I found bizarre. I would've also liked more people interest stories by bands like Skinny Puppy, who pretty much could fill another third of the book with their original creativeness and engaging history. Otherwise, it was well presented. Now I'm going back on Spotify to track down all those interesting singles recommended at the end of many of the section headings...
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