By David Gray
David grey - White Ladder (Songbook)
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Extra info for David Gray: White Ladder (Tab)
83 This cultural practice in electronic/dance music discussed by McLeod is no different for the electronic genres and subgenres that appropriated (and continue to appropriate) the term “industrial” for their music. Industrial also came about during the “cassette culture” 84 craze; indeed, Industrial Records and the artists that were involved with the label set the stage for a genre of music based on independence and disparity. But despite the multitude of possible causes for this reinterpretation within the genre since the first wave, the generic descriptor “industrial music” has become more and more broadly encompassing.
37 industrial music. Here we can conceive of two elemental aspects within industrial that comprise its identity–electronic music and experimentation–and notice the differences and interactions between these two categories. Further background: The Futurists At the end of the nineteenth century, electricity flowed into the traditions of mechanical experimentation with sound. The Futurist movement began to challenge the conventional notions of music, sound, and noise. Luigi Russolo wrote in his “The Art of Noises: Futurist Manifesto:” The ear of the Eighteenth Century man would not have been able to withstand the inharmonious intensity of certain chords produced by our orchestra (with three times as many performers as that of the orchestra of his time).
In many ways, the success of remaining out of the mainstream and only appealing to a niche audience has allowed industrial music to develop somewhat more quickly than popular music. Ideas were promoted on a purely creative level first, instead of on the marketing level. Mainstream appeal was of little or no concern, and as a result, many artists made music for music’s sake, encouraging the genre to go through rapid shifts and reinterpretations, as well as disseminating the industrial aesthetic in different regions through different ways.
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