Notes

Introduction: The Front Lines

1. Levermore.

2. Butler.

3. Levermore.

4. Ibid.

5. Hanley, Metal Machine Music iii–iv.

6. Reynolds, “Blowing.”

7. Dery 81.

8. Garcia, “Leeb.”

9. Hanley, Metal Machine Music 17.

10. Naremore and Brantlinger 10.

11. Shryane 58.

12. Blake 123.

13. McKenna.

14. Nunes 3.

15. Rabid 100.

16. “I Am So Industrial.”

17. Nettwerk.

18. Anonymous.

19. Lilleker 87.

20. Anonymous.

21. Lemos, “Controlled Bleeding” 7.

22. Boss.

23. Shryane 56.

24. Lena and Peterson 698.

25. Kallberg.

26. Lena and Peterson 701.

27. Ibid.

28. Side-Line.

29. Grinder 8.

Part I: Technology and the Preconditions of Industrial Music

1. Densmore 611.

2. Antrim 276.

3. Ibid. 275.

4. Ibid. 279.

Chapter 1: Italian Futurism

1. Boccioni et al. 184.

2. Ibid.

3. Marinetti 187.

4. Russolo 209.

5. Holmes 14–15.

6. Marinetti 187.

7. B. Williams.

8. Marinetti 186.

Chapter 2: William S. Burroughs

1. Hunter 186.

2. Burroughs, Junkie 71.

3. Leavitt 269.

4. Seed 134.

5. MacLuhan 17.

6. Frith 26.

7. Burroughs, Western Lands 60.

8. Burroughs, Naked Lunch 94.

9. Burroughs, Electronic Revolution 6.

10. Friedberg 3.

11. Burroughs and Gysin, Third Mind 29.

12. Burroughs, Electronic Revolution 14–15.

13. Debord, “Detournement” 698.

14. P-Orridge, Psychick Bible 279.

15. Ibid.

16. Daniel 57.

17. Ibid. 58.

18. Ibid.

19. Ibid.

20. Nyman 9.

21. “Coil: Beyond the Eskaton.”

22. Burroughs, Letters 269.

23. Burroughs and Gysin, Colloque 270.

24. O. Harris 256.

25. Naremore and Brantlinger 9.

26. Woods 16.

27. Hoskyns.

28. Collins 55.

Chapter 3: Industrial Music and Art Music

1. Phosphor.

2. Burroughs and Odier 33.

3. Van den Berg 25.

4. Stockhausen et al. 382.

5. Ibid.

6. Gardner 29.

7. Duguid 18.

8. Owen 22.

9. J. Gill, “Forgive.”

10. Morley.

11. Lilleker 10.

12. “Rhythm and Noise—Naut Humon—Z’ev.”

13. Perloff 583.

14. Kostelanetz 203.

15. Cardew xiv.

16. Young 60.

17. Laurence.

18. Keenan 62.

19. Nyman xi.

20. Engels and Marx 14.

Part II: Industrial Geography

1. Krims 7.

Chapter 4: Northern England

1. Whalley.

2. Wood.

3. Ibid.

4. Hegarty, Noise/Music 108.

5. P-Orridge, “Splinter Test” 32.

6. Hafler Trio 182.

7. Wood.

8. Lilleker 12–13.

9. Ibid. 14.

10. A. Gill, “Cabaret Voltaire.”

11. Lilleker 11.

12. Ibid. 10.

13. Ibid. 11.

14. Brown et al. 439.

15. Shore.

16. Reynolds, Rip It 168.

17. Lilleker 13, 11.

18. Morley.

19. Fish 63.

20. Lilleker 88.

21. Ibid.

22. Ibid. 90.

23. Ibid. 91.

24. Wood.

25. Lilleker 87.

26. Ibid. 48.

27. Brown et al. 439.

28. Reynolds, Rip It 154.

29. Lilleker 69.

30. Newton.

31. Lilleker 125.

32. Ibid.

33. D. Thompson, Alternative 275.

34. Lilleker 130.

35. Ibid.

36. Newton.

37. Ibid.

38. Lilleker 136.

39. Ibid.

40. Newton.

41. P-Orridge, Thirst.

42. Clock DVA.

43. Newton.

44. Lilleker 138.

45. Ibid. 47.

46. S. Ford 0.12.

47. Ibid. 6.32.

48. Fusco and Tutti 18.

49. S. Ford 6.33.

50. Ibid.

51. Ibid. 9.27.

52. Pellerin.

53. Tutti.

54. P-Orridge, Email.

55. Ibid.

56. Tutti.

57. P-Orridge, Interview.

58. S. Ford 1.5.

59. Ibid.

60. P-Orridge, Interview.

Chapter 5: Berlin

1. Schierbaum.

2. Ibid.

3. Straw 494.

4. Beetz and Herdlitschke.

5. Ibid.

6. Beaumont 39.

7. Schierbaum.

8. Ibid.

9. Shryane, 14.

10. Chainsaw.

11. A. Müller 7.

12. Maeck 11.

13. Beetz and Herdlitschke.

14. W. Müller 24, author’s translation.

15. Maeck 33.

16. Chung.

17. Rapp 37.

18. Esch et al.

19. Die Krupps.

20. Stroud.

21. Esch et al.

22. Die Krupps.

23. Strong.

24. Fraser and Hoffmann 268.

Chapter 6: San Francisco

1. Vale, Interview.

2. H. S. Thompson, 67–68.

3. J. Gill, “Interview.”

4. Barr, “Helios Creed.”

5. Gedge.

6. Barr, “Helios Creed.”

7. Esch et al.

8. Bell.

9. Vale and Juno, Handbook 74.

10. Vale and Juno, Pranks! 73.

11. Ibid.

12. Benjamin 224–225.

13. Vale and Juno, Handbook 110.

14. Ibid. 115.

15. Rice, Interview.

16. Ibid.

17. Vale and Juno, Handbook 115.

18. Ibid. 37.

19. Ibid. 27.

20. Z’EV 178.

21. Bergland and Palme.

22. Vale, YouTube.

23. Vale and Juno, Pranks! 14

24. Savage, Introduction 5.

25. Bergland and Palme.

26. Reynolds, Rip It 247.

27. Vale, Interview.

28. Ibid.

29. Ibid.

Chapter 7: Mail Art, Tape Technology, and the Network

1. Codenys.

2. Théberge 151.

3. Levy 39.

4. Jensen and James 41.

5. Faust.

6. Jones 7.

7. Levy 40.

8. Geraci 3.

9. Manuel 19–20.

10. Corbett 98.

11. Howard, “Clanking” 46.

12. Cigéhn.

13. Rice, interview.

14. S. Ford 3.11.

15. S. Ford 1.21.

16. P-Orridge, Interview.

17. S. Ford 8.15, 12.14.

18. Carter.

19. Ibid.

20. P-Orridge, Interview.

21. Etat Brut.

22. Marshall 44-5.

23. Vale and Juno, Handbook 14.

24. McGee, Interview.

25. Hobijn.

26. Ibid.

27. Ayers, Interview.

28. Ferfolja.

29. Hobijn.

30. Levermore.

31. Ibid.

32. Szava-Kovats.

33. McGee, “Forward” vii.

34. Dink 107.

Chapter 8: The Tyranny of the Beat

1. S. Ford 7.24.

2. P-Orridge, Interview.

3. ‘Enthal 39.

4. Savage, Testament.

5. Meyer.

6. New Collectivism 21.

7. Fink, Repeating 3–4.

8. Daniel 21.

9. Keenan 168.

10. Lanier 10.

11. Pearce.

12. Codenys.

13. Ayers, Interview.

14. McClary 29.

15. S. Ford 6.17.

16. Savage, Testament.

17. Levermore.

18. Blake 115.

19. Krims 128–130.

20. Fish 150.

21. B. Harris.

22. Esch et al.

Chapter 9: “After Cease to Exist”

1. Tutti and Carter.

2. Ibid.

3. Ibid.

4. Fish 103.

5. S. Ford 11.6.

6. Ibid. 9.18.

7. Tutti and Carter.

8. “Coil” 13.

9. Tutti and Carter.

10. Schmelze and Schalinski.

11. Whitney.

12. King 122.

13. Urban 11. Emphasis original.

14. R. Smith.

15. Pearce.

16. Chung.

17. Andrews 50.

18. Will.

19. Virgin.

20. Blake 105.

21. Chainsaw.

22. “Ramleh Interview.”

23. Ibid.

24. Hegarty, “Just” 17.

25. Ibid. 20.

26. J. Gill, Queer 161.

27. “Test Dept.” 20.

28. Allen.

29. Collins 123.

30. Neal 165.

31. Pearson and Shanks 103.

32. Neal 164.

33. “Portion Control.”

34. Leeb.

35. Becu.

36. Duguid 20.

37. B. Harris.

38. di Perna 57.

39. B. Harris.

40. Ibid.

41. Ibid.

42. Ibid.

43. Ibid.

44. Codenys.

45. Noë 60.

46. Peters 1–2.

47. Turmel.

Chapter 10: Body to Body

1. Ivens.

2. Genion and Meurrens.

3. Ibid.

4. Van Acker.

5. Ibid.

6. Codenys.

7. Van Acker.

8. Genion and Meurrens.

9. Ibid.

10. Codenys.

11. Ibid.

12. Reynolds, Blissed 163. Emphasis added.

13. Codenys.

14. Ibid.

15. Ibid.

16. Kistner and Weil.

17. “WSKU Radio (Kent, Ohio)—Ralf Hütter—19/06/1978 American Radio Broadcasting.”

18. Front 242.

19. Codenys.

20. Cusick 35.

Chapter 11: Industrial Music as a Theater of Cruelty

1. Artaud 84.

2. Ibid. Emphasis added.

3. Graham.

4. Coatts 18.

5. Howard, “Test Dept.” 7.

6. Sterritt 81.

7. Artaud 92.

8. Ibid.

9. Ibid. 94.

10. Ibid. 93.

11. Ibid. 96.

12. Ibid. 95.

13. Vale and Juno, Pranks! 72.

14. Artaud 99.

Chapter 12: “She’s a Sleeping Beast”

1. Barclay, Jack, and Schneider 507.

2. Key.

3. Ibid.

4. Wolanski.

5. Lucas.

6. Keenan 108.

7. Naked 52.

8. Key.

9. “Mindphaser.com Exclusive Michael Balch Interview.”

10. Hodkinson 48–56.

11. Key.

12. Walser; Gunn.

13. Gold and Kendrick 6.

14. Hurley 3–4.

15. Key.

16. Kopf 10.

17. Kristeva.

18. A. Williams, Art. 23.

19. Hurley 4.

20. Fulber.

21. Ibid.

22. Key.

23. Siana 102.

24. Ibid. 16.

Chapter 13: Back and Forth

1. Žižek and Herscher 62.

2. FatherWithHorns.

3. Hanley, “Land” 172.

4. Ibid.

5. Ibid. 174.

6. Aspa 10.

7. Hanley, “Land” 174.

8. Ibid.

9. Freel.

10. S. Ford, Wreckers 9–27.

11. “Robert Görl und Gabi Delgado—DAF—12.01.2009.”

12. Shekhovstov, “Apoliteic Music” 432.

13. Ibid. 436.

14. Žižek and Herscher 63.

15. Portnoy 191.

16. Shekhovstov, “Apoliteic music” 437

17. Shekhovstov, Blog.

18. Shekhovstov, “Apoliteic music” 455.

19. Ibid. 448.

20. Rice, “Speaks.”

21. Ross.

22. Rice, Interview.

23. Rice, No 79.

24. Rice, Interview.

25. Rice, Interview.

26. Webb 85.

27. Hanley, “Land” 173.

28. English Celt.

29. Sontag 101.

30. Ibid. 105.

31. Ibid. 102.

32. Ayers, Letter 62.

33. Sontag 91–92. Emphasis added.

34. Žižek 372.

35. Ibid. 387.

36. Blake 121.

37. Carver 259.

38. Oldanburg 17.

39. Home 74.

40. Oldanburg 17–18.

41. Home 74.

42. Oldanburg 18.

43. Lovink 113.

44. I Die You Die.

45. Ibid.

Chapter 14: White Souls in Black Suits

1. Twomey 272.

2. Holmes 61, 396.

3. Fish 93.

4. Unsound 112.

5. Masters 12.

6. “cEvin Key: See the Light, Feel the Heat.”

7. Stewart.

8. Marshall 44.

9. P. Ford 107–108.

10. Ibid. 108.

11. Via Stull and Hatch 66.

12. Da Davo.

13. P. Ford 110.

14. Ibid.

15. Ibid. 129.

16. Hill 683.

17. Fink “ORCH5.”

18. Key.

19. Savage, Introduction 5.

20. Reynolds, Retromania 314.

21. Lloyd 14.

22. Neville, “Recall.” 20.

23. Codenys.

24. Sweers 229.

25. Van der Merwe 108.

26. de La Villemarqué.

27. “Salmon-Fishing on the Nipissiguit” 22.

28. Lemos Interview.

29. Lloyd 14.

30. Rudiman.

Chapter 15: Wild Planet

1. G. Jones.

2. Fish 194.

3. Wyman.

4. Samardzija 76.

5. Popson.

6. Nash.

7. Roberts.

8. Gold and Kendrick 7.

9. Connelly 26–27.

10. Samardzija 76.

11. Popson.

12. Baker.

13. Brewster and Broughton, Last Night 298.

14. Sweeting, “Ministry.”

15. Baker.

16. Sweeting, “Corridors” 9.

17. Gillis 55.

18. Connelly 22.

19. DeRogatis and Kot.

20. Freel.

21. Van Acker.

22. C. Lee.

23. S. Lee 119.

24. DeRogatis and Kot.

25. DeRogatis and Kot.

26. Dasein 28.

27. DeRogatis and Kot.

28. Van Acker.

29. Miller and Chavez.

30. S. Lee 116.

31. Nash.

32. Fulber.

33. Voorvelt 71.

34. Mothersole 3.

35. Mothersole 4.

36. D. Thompson, Alternative 562

37. Reynolds, “Oblivion.”

38. Peter.

39. Brewster and Broughton, Record Players 326.

40. Noise.

41. Sonst.

42. Ibid.

43. van den Troost.

44. Elitair.

45. Barr “Young Gods.”

46. Connelly 22.

47. DeRogatis 95.

48. Greene 32.

49. Souvignier 98.

Chapter 16: Q: Why Do We Act Like Machines? A: We Do Not.

1. “Getting Down In It.”

2. Huxley 74.

3. Roberts.

4. “Talking About Nothing with Trent Reznor.”

5. Ibid.

6. Zwickel.

7. Roberts.

8. Nine Inch Nails.

9. Howard, “Hunting Lodge” 2.

10. Collins 415.

11. Ibid.

12. Carr 97.

13. A. Williams, “Narratives” 123.

14. Siegel 81.

15. Roberts.

16. Ibid.

17. Kot.

18. S. Lee 140.

19. Ibid.

20. Ibid. 205.

21. Kot.

22. Miller and Chavez.

23. S. Lee 141–142.

24. Ibid. 209.

25. Ibid. 206.

26. Ibid. 140.

27. Ibid. 141.

28. Connelly 173.

29. Bush, “Meat Beat Manifesto” 323.

30. S. Lee 200.

31. Ibid.

32. Connelly 195.

33. Novak.

34. Wiseman-Trowse 6.

35. Lilleker 44.

Chapter 17: Death

1. Idelson.

2. Garcia, “Guiltman” 40.

3. Barclay, Jack, and Schneider 537.

4. Ibid. 536.

5. “Nomeans No, too fucking wonderful for words.”

6. Bonner 14.

7. Bush, “Last Rights” 1019.

8. Barr, “Skinny Puppy.”

9. P-Orridge personal interview.

10. D. Thompson, Industrial Revolution 77.

11. Hyams.

12. McCaughey.

13. Neville, “Genesis P’Orridge” 31.

14. Ibid.

15. Siana 33.

16. Ibid.

17. Myer.

18. Culture Shock 28.

19. Siegel 13.

20. van Elferen 126.

21. Gates.

Chapter 18: Wonder

1. Tagg, “Harmony” 542.

2. Tagg, “Universal” 252.

3. Candey.

4. Scott.

5. Demers 106–107.

6. Girl the Bourgeois Individualist.

7. Star.

8. Shear.

9. Fulber.

10. Cyberium.

11. Hanley, Metal Machine Music 368.

12. Tressler.

13. Savage, Introduction 5.

Postscript: Is There Any Escape for Noise?

1. Bohn 4.

2. Bergland and Palme.

3. McDonough xi.

4. Reed 31.

5. Lewis 195.

6. N. Smith 53.

7. Ibid. 56.

8. Ibid.

9. Ibid. 51.

10. Shryane 49.

11. Diederichsen 25.

12. Ibid. 26.

13. Ibid. 29.

14. Ibid. 31.

15. Ibid. 32.

16. Ibid. 31.

17. Ibid. 34.

18. Ibid.

19. Debord and Wolman 17.

20. Hillegas 150.

21. Bailey 22.

22. Ibid. 32.

23. Ray 75.

24. Ibid.

25. Demers 106–107.