Steve Albini on INDUSTRIAL Music
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- Опубликовано: 8 сен 2024
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ROCK IS DEAD? FULL FILM: • Rock is Dead? Full Fil...
WHAT IS CLASSIC ROCK? - CANADA & USA:
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WHAT IS CLASSIC ROCK? - WORLDWIDE:
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STEVE ALBINI BIG BLACK INTERVIEW: • Steve Albini: Big Blac...
Steve Albini on Industrial Music.
Cheers,
Daniel
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Rock is Dead? Full Film: ruclips.net/video/qMlLfrU5fjs/видео.html
What is Classic Rock? - Canada & USA:
- RUclips bit.ly/2Kbji5C
- iTunes apple.co/2KNOCD2
- Vimeo bit.ly/2Iv1ywd
- XBOX bit.ly/2K8AF6Z
- Google Play bit.ly/3cwDybU
What is Classic Rock? - Worldwide:
- Vimeo vimeo.com/ondemand/whatisclassicrock2
Cheers,
Daniel
Big loss for music when Mr. Albini left our world. RIP
Albini was way ahead of his time. The music world lost a true master audio tech and musician when he passed away.
early Einstürzende Neubauten, thats true Industrial
The pioneers
100%
I came here to say this. Shocked that Steve didn't mention them, but ok. RIP Steve Albini. 🖤
Literally
Albini always talked a lot of sense on music and the music industry, but here, he was just completely wrong about Front 242.
Their music
a) wasn't specifically meant to be played in clubs
b) wasn't specifically made to take drugs to
To the contrary, when they started out in Belgium, they quickly build up an infamous live reputation. At the time Front 242 made their first records (1981/1982), there WEREN'T even clubs playing exclusively electronic music in Belgium.
Those clubs only started to emerge from 1987/1988 on, with the 'Belgian new beat' hype.
Before that, in a typical Belgian alternative/underground club (and those were very few, BTW) you would hear a very eclectic mix of electronic music, goth and guitar bands: a mix of Front 242, Sisters of Mercy, TC Matic, 'Nightclubbing' (Iggy), 'Nag Nag Nag' (Cabaret Voltaire), 'I Love a Man in Uniform' (Gang of Four), 'Der Mussolini' (DAF), 'Los Ninos del Parque' (Liaisons Dangereuses), The Cure, PIL, The Smiths, The Neon Judgement, Depeche Mode etc... wouldn't be unusual; some DJ's even mixed that with Gainsbourg ('Requiem pour un con') and Jacques Dutronc (the southern part of Belgium is French speaking, hence those influences).
At that time (82-87), the drug of choice in those clubs was mostly just alcohol. Again, only with the arrival of specific 'new beat' clubs at the end of the eighties other kinds of drugs (xtc, coke...) started to become an essential part of the scene, and as far as I know, Front 242 was never associated with that 'rave'/'party' scene. By that time, they already had carved out their own niche of 'electronic body music'.
agree
Spot on. Front 242 have always described themselves as an EBM band.
indeed. it's the first time I noticed Albini making a mistake. I guess he was referring to the hundreds of bands that modelled their sound TO Front242.
certainly in the eighties their creating process was analog from start to finish and I would bet on it they weren't into party drugs ;)
but what he said was completely true for the New Beat scene, also born in Belgium.
@@yawninghyaena I think he's just lumping them in with the WAX TRAX! bands (they released Front 242 in the US).
What this says to me is that Albini was familiar with Front 242 as being part of a genre but not familiar with them individually as a band. I will say that in the US during the late 80s, Front 242 was played heavily in the kinds of environment he describes - a club where people take drugs and dance. They were played right along side A Split Second, KMFDM, and a long list of other danceable synth heavy straight beat (drum machine) sounds.
In other words, from an American standpoint, it is a very easy mistake to make.
Really like Albini said about the state of of the music industry and copyright being dead. He called that 5 or 6 years ago if I remember right. Always interested to hear what he has to say!
Smart freakin guy _ Much RESPECK
eh
RIP Steve
Amen. Am out for a cigarette, and the sky is crying at his loss, here.
Dude , Steve Albini recorded what to me are the strongest , most abrassive Whitehouse records . Speak of 1st Generation " Industrial / Noise " legends .
Whitehouse was, like, third generation industrial. Maybe second, at best. Genesis P-Orridge actually used them as an example of how industrial music had become codified and a parody of itself.
Gen said many things ...as we all do ,mind you. Happens he (or was it Monte ?! ) coined the term so , I will give him some credit for that. At the end of the day I´m pretty certain he´s also said that labels such as "Industrial "are only record labels/music magazine´s reference points in order to sell a product to certain audiences .
One way or another ,one thing few would deny is Whitehouse´s extreme importance within that type of sound /bands. And yes, the Albini years are pretty exceptional in many people´s opinion.
@@saraivatoledo1842 To be honest, I always very much preferred Ramleh. Whitehouse's discography is, sonically, incredibly repetitive and, after a while, hearing William Bennett shout about his sexual abuse fantasies can become really tedious. Even Consumer Electronics has done some much more interesting albums, especially in the latter years (the Diagonal releases with Russell Haswell and so on).
Mind if I ask if you´re going through one of them periods of deep Denial ? Deeper than that would be sth along the lines of " Oh , come on, mate! Even Roger Karmanik and his hook nosed mate Mortiis did got much deeper, earlier than Brian Lustmord and Adi Newton ." . You realize how deranged such opinions sound ,right ?@@VuotoPneumaNN
You actually ended up introducing me to some Great music I wasn´t even aware existed (namely Ramleh ) and I apologise for the nonsensical comment which was half tongue in cheek and downright absurd.
Guess ,after all these years I still resent the fact that I actually enjoyed Mortiis ´s collaboration on "Necrose evangelicum " too much and to the point it still manifests itself in these "intrusive thoughts " . Plus Whitehouse is a Sacred cow -to somehow relativize or diminish its impact had me all industrialized at my very core 😂. Take care ...and again, thanks !
@@VuotoPneumaNN
Throbbing gristle’s label was literally Industrial records
Great Channel
Steve Albini recorded the first PIGFACE record.
"Eat your heart out Steve."
Member that?
@@landofthesilverpath5823 As I understand it, that's directed at Steve Gottlieb of TVT records (who Reznor was in a contract dispute with when he was recording Broken), not Albini, although who knows but Reznor.
That is IndASStrial ...
@@Brian-rt5bbyeah, seems like they didn’t enjoy each other but it was only vocals on like 1-2 songs and what else? albini wasn’t nearly important enough of a figure for reznor at any career stage to whisper remarks at on a NIN record
Never drive drunk. Never drive distracted. Thanks, guys. Arrive home alive!
🖤
Wax trax records
Spk ..Throbbing Gristle ..Neubauten ...Coil..Death In June
for sure Coil and Death in june are post industrial
Fuck Death In June
early Current 93, Monte Cazazza, Test Dept
I’m so sad!
No Martin Vega?
you talmbout suicide?
@@billyghostal yes
alas - would have listened to mr albini to the end if only he had infused all those words with some atonal heart stopping ... je ne sais quoi
Why is beardo just posted up in the corner?
Wendy Carlos is a bad example, because while her equipment initially consisted of a lot of rare one-off Moog Modules, the Moog design philosophy always took professional, classically trained musicians in-mind, and even without a single patch cable connected, most Moog rigs are "normalled" (internally wired) to be fairly useful without need to patch modules manually. Patching opens them up to more avant-garde sounds and methods... but a layman could absolutely sit down at a moog modular and figure out a way to get useful tones out of it.
The other acts he mentioned (Throbbing Gristle etc...) were definitely doing things with gear that only they, themselves could probably make heads or tails of (because they were building their own gear, for their own purposes).
Moog modular is not internally wired.
I always hated how Steve talks about dance music as "music to take drugs to". That hurts whole genres of electronic music plus he doesn't talk about how pathologic punk audiences could've been in the past and even now. I guess he doesn't get the cultural background that made dance music come to life - ealy house and techno music in USA was made by black and latinoamericans, while the breakthrough in Europe could be linked with economical and social situations (UK - like Manchester), and the fall of communism in Central/Eastern Europe.
Yea, no drugs at all in the electronic music scene, lol.
Also, the "breakthrough in Europe" happened in Germany way before anything worth mentioning happened in Britain or in America for that matter.
Here we go again another one claiming blacks and latinos started everything 😂
These two comments might be an exhibit of why I don't delve into comment sections myself lol. Please read and at least try to reply according to what I actually wrote. I never said there were no drugs in the EDM scene, but Steve is biased and he doesn't seem to treat genres equaly and acts like a boomer which he well... is (born 1962). Germany had groundbreaking albums with electronic instruments since the late 60s and that's great but it isn't even music we've been talking about - it isn't EDM Steve is talking about, it just has electronic sounds which started to be less and less centered around avant-garde clasical composers since the 60s - no raves etc. The other comment I don't even know how to respond to - I never wrote that, but it's easy to check that most of the earliest house/techno producers were from racial minorities - I don't see how this could be an opinion and not stating a fact.
I think there were a lot of things happening at once in a lot of different places. Much like the argument of where punk started, and even when punk started. I know in detroit it was absolutely cultivated by black and latino scenes. But it was definitely derrived from disco. And saying drugs were not a major part of electronic music culture is just a willfully ignorant statement. All of europe was blankly gnashing teeth and rolling eyes from 1970 until today. It ABSOLUTELY hurts the all electronic music. But its a 100% bone hard fact. Drugs played a major roll in electronic music culture. In the same way rock.n roll had satan...except drugs are real and murdered party goers in droves. I think it had very little to do with politics. Germany, for certain was effected by the wall. I personally hate house music...why?...because i dont do drugs and actually want substance in my music. lol
Not unlike listening to Remleh or Genocide Organ and slicing your wrists while banging your forehead into a mirror lol
When thinking early industrial i think of early Godflesh,Pitchshifter
you're talking about pioneers, true, but in the sense they were first to make a sonic link between industrial and (underground) metal. Godflesh! (one of the best songs by Zeni Geva, a Japanese outfit Steve joined btw)
I love Ministry and the Young Gods quite a bit too. but overall a hugely underexploited music genre if you ask me...? rather exceptional for our musical landscape :)
I'm curious if you can point me to some good bands in 2024? I'd say Uniform, and Absent in Body ...
“True” Industrial happened way before those bands existed
..
u know i see u everywhere i go man
ukg videos footwerk all that shit damn dude who are you man
@@kirkwright5359i see him under prurient vids.. whoever he is hes a legend
Mucho respect for SA, but I don’t even think 50% of what he’s on about here is true or relevant. Maybe he should have just said “that’s not really my arena” and stick to being matter-of-fact about the stuff he actually knows about, which is a lot, of course.
This one.
As much as I love SA, this is the first time I believe that he doesn't really know what he's talking about.
Agreed
In what way? Not disagreeing. Just want to understand.
Looking forward to hearing the meaning!
Lol. You should have heard his views on the plandemic
we're still waiting...
Steve knows a lot, but always sounds like a know-it-all
@@justinxxiii7035 “Threatened”? Jeez!
@@justinxxiii7035 “No other analog engineer ever came close to his expertise.”
Oh come on, even (especially) Steve would laugh at that.
Ha ha .. He's talking about Wendy Carlos .. so great. That dude was a genius .. The Tron soundtrack was such a weird dissonant choice for that movie, but it's iconic perfection. I remember parts of that score popping up in a game flop I used to love Tron 2.0 killer app .. and it was pure joy nostalgia .. Wendy was a genius with the Moog
Quit calling her a dude….Don’t be this person. You’re going out of your way to be this guy.
I listened to "Why You Never Became A Dancer" and "Wriggle Like A F.king Eel," but I only recently realized how messed up the first song was. Yeah, the band as people are trash for criticizing someone who said they were SAed as a minor.
He sounds like he thinks he knows everything. But so much of this is subjective and also the music came from many different countries at the same time. It is impossible to say definitively where, for instance, the term "Industrial" came from. RIP though...
Yeah Skinny Puppy were pioneering AF but a few years after Too Dark Park they started sounding like a KMFDM-cover band
Hard disagree. For instance, The Process is when cEvin actually starts getting into modular synthesis for the first time, which carried over to all the Download and solo releases. KMFDM were never as dense sonically as anything cEvin was involved with.
Ouch!
Have you never heard Last Rites? KMFDM's discography doesn't hold a candle to ANYTHING heard on Last Rites.
Clearly you haven't listened to any post-TDP Skinny Puppy
I would argue that some of Skinny Puppy’s most experimental tracks appear on Last Rights. But I kind of get what you’re saying if you’re talking about stuff beyond that album.
Sucks he took the jab. Really great mind.
oh so now he died because he had a vaccine ? come on !
Laibach einsturzende. Neubaten ministry revco
RIP Steve