Overview
- Offers a multi-disciplinary perspective on the key aspects of industrial music
- The book includes analysis and interviews with artists, bands and video makers involved in the scene
- First book on industrial music and culture to address explicitly intersectional elements on race, gender and sexuality
Part of the book series: Pop Music, Culture and Identity (PMCI)
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Table of contents (10 chapters)
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Front Matter
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Back Matter
Keywords
About this book
This edited collection delves into the industrial music genre, exploring the importance of music in (sub)cultural identity formation, and the impact of technology on the production of music.
With its roots as early as the 1970s, industrial music emerged as a harsh, transgressive, and radically charged genre. The soundscape of the industrial is intense and powerful, adorned with taboo images, and thematically concerned with authority and control. Elemental to the genre is critical engagement with configurations of the body and related power. Adopting an interdisciplinary approach, this collection analyses the treatment of subjects like the Body (animal, human, machine), Noise (rhythmic, harsh) and Power (authority, institutions, law) in a variety of industrial music’s elements. Throughout the collection, these three subjects are interrogated by examining lyrics, aesthetics, music videos, song writing, performance and audience reception.
The chapters havebeen carefully selected to produce a diverse and intersectional perspective, including work on Black industrial musicians and Arabic and North African women’s collaborations. Rather than providing historical context, the contributors interpret the finer elements of the aesthetics and discourses around physical bodies and power as expressed in the genre, expanding the ‘industrial’ boundary and broadening the focus beyond white European industrial music.
Reviews
Editors and Affiliations
About the editors
Jason Whittaker is Head of English and Journalism at the University of Lincoln. He mainly writes on the reception of William Blake, but also has published on digital technologies and culture as well as post-punk and industrial music. His most recent books include Tech Giants, Artificial Intelligence and the Future of Journalism (2019) and Divine Images: The Life and Work of William Blake (2021).
Elizabeth Potter is a PhD student at the University of York. Her thesis focuses on William Blake’s marginalia to The Works of Sir Joshua Reynolds (1798). She analyses the manuscript notes on material and conceptual levels to provide insight into Blake’s aesthetics and artistic philosophies. Beyond her thesis, she is also interested in transatlantic studies, visual culture, and affect theory.
Bibliographic Information
Book Title: Bodies, Noise and Power in Industrial Music
Editors: Jason Whittaker, Elizabeth Potter
Series Title: Pop Music, Culture and Identity
DOI: https://doi.org/10.1007/978-3-030-92462-1
Publisher: Palgrave Macmillan Cham
eBook Packages: Literature, Cultural and Media Studies, Literature, Cultural and Media Studies (R0)
Copyright Information: The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2022
Hardcover ISBN: 978-3-030-92461-4Published: 10 March 2022
Softcover ISBN: 978-3-030-92464-5Published: 11 March 2023
eBook ISBN: 978-3-030-92462-1Published: 09 March 2022
Series ISSN: 2634-6613
Series E-ISSN: 2634-6621
Edition Number: 1
Number of Pages: XI, 202
Number of Illustrations: 2 b/w illustrations
Topics: Music, Gender Studies, Queer Studies, Performing Arts