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Industrial music and the reflection on up to date expertise


Disclaimer: This text was originally published in TAB UOL, in Portuguese.

“This is where Throbbing Gristle appears: they are born from the division of the punk movement and direct their performances to the interior of these forgotten places. The abandonment, the detritus, the things with no utility, everything that was put out of the value chain attracted several people, especially artists, who collected and changed the sense of these discarded objects to transform them into something different. Throbbing Gristle makes a much more complex operation: they are the true precursors of post-industrial, the ones who understood that and quickly switched between theory and practice. They were the first to realize that the factory is dead. And that this happy death is followed by the death of an industrial work that oscillates between alienation and identification, through which something completely odd can be born of.”

It’s no coincidence that Canevacci writes about deserted factories and destroyed buildings. One other iconic industrial music band is the German Einstürzdende Neubauten, which talk by their very own title the concept of “new buildings collapsing.” It was a direct reference to the post-1945 German buildings which grew to become generally known as “Neubauten” in distinction to “Altbauten,” previous buildings that had been erected earlier than the struggle — that’s, even the brand new constructing with strengthened constructions that introduced a brand new second for a rustic destroyed by the battle was additionally collapsing, although the explanations had been totally different.

“The factory is altered and discarded. This is the basic principle: the factory is altered in the sense that from its decrepit and almost demolished walls, in acid and dirty decomposition, it is possible to give birth to a new sound flux that transforms that musical instrument into the same working instruments, now forgotten just like these places. A new song begins to resonate between the spaces of the dead factory: the industrial. In this kind of sonority, which futurists had already experimented in a completely different modality, the rumor, besides the silence, is the constitutive part of the song. The tonal and also dodecaphonic structures are dissolved just like the factory and labor themselves. Lacerated squeaks and timbre distortions express the very dissonances of the music and the society that no longer can conciliate a tonal harmony or a dialectic synthesis.”

Curiously, however, even earlier than the formation of Einstürzende Neubauten or the arrival of commercial music in Europe occurred, in Brazil, we had artists who had been working with experimental music. In 2003, Petrobrás alongside PUC TV launched the documentary “Alquimistas do Som” (Sound Alchemists) about Brazilian experimental music, a style that was principally ignored in face of the success of Tropicália, however that was however refined and related to different scenes discovered overseas. Within the documentary, artists reminiscent of Tom Zé, Egberto Gismonti, Carlos Rennó, Arrigo Barnabé, maestro Júlio Medaglia, Lenine and Arnaldo Antunes are invited to share the historical past of this unknown previous.

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Comparability between performances of Tom Zé and Einstürzende Neubauten in Halber Mensch.



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