It’s an Ad·ver·sary Disco Party

Another AVS interview, this time with ChainDLK:

Chain D.L.K.: Some critics have argued that industrial/dark electronic music is pretty much dead. Do you agree with this view? What is your opinion of the current state of industrial/EBM music?

Ad-ver-sary: Have you ever listened to the lyrics of ‘Chickenshit Conformist‘ by Dead Kennedys? That’s how I feel about industrial. The music is doing fine, it’s the attitude of the people involved that’s the problem. A lot of people have gotten into a routine where they’re going to an industrial night week after week wanting to hear something familiar, instead of going week after week to hear something new. My partner and I DJ every week, and there’s always enough great new music that we never have to play Dead Stars or Head Like A Hole. FLA and Ministry’s last full-length were their best albums in at least ten years, Diskonnekted and Brain Leisure have picked up where Haujobb left off, and there’s a lot of people pushing the edges of the genre. Insurgent Inc. is doing some fantastic industrial-metal crossover, same as Left Spine Down’s doing with punk and Memmaker’s doing with old-school rave. So, no, I don’t think industrial music is dead, I just think there’s a low signal-to-noise ratio. A lot of people have forgotten that industrial is an experimental genre, and if DJs and audiences don’t participate in that process by being open to new music, what they’re really saying is “forget the industrial, I just want the pop.”

This Tuesday is the official Bone Music CD Release Party at Zaphods, with Hound guesting on the WHEELS OF STEEL. I am excited!

7 thoughts on “It’s an Ad·ver·sary Disco Party

  1. Interesting response.

    However, that has to do with the music genre, not with the scene proper.

    I was discussing Industrial music from a marketing perspective at the 16volt show actually.

    When you look at the scene as a market, it APPEARS to be on the long tail now – a product that had it’s peak with Gen X, who are notoriously the worst and most fickle consumers we have to sell to, not to mention one of the smallest target markets we can aim for (13-15% of the population? then take into account we are aiming at a small niche of said generation).

    The music is still growing, the scene on the other hand appears to be nowhere near the size it was during it’s peak.

    Your last sentence in that quote is the key good news – this is an experimental genre and we have to be open to new sounds, which is what makes the genre so fucking exciting.

  2. If a label with a Lot Of Money wanted to push industrial to the mainstream, I don’t think it would be difficult. If Disturbed can sell millions, Cubanate can sell millions. But, no-one’s interested in doing it. We had a brief renaissance thanks to Trent Reznor, but everyone bitched at him for it and he shut down his label and told everyone to go fuck themselves. Which, really, is pretty fair considering the treatment he got at the time.

    I don’t think Industrial Music proper is what’s going to sell or get the new fans, it’s the crossover stuff. I bet Memmaker’s selling at least 10x what Iszoloscope did. Same as NIN sold 10x what Skinny Puppy did.

  3. Good call on the Lot Of Money.

    However it would mean having to push into new markets, not aim at existing markets. And that’s a big reason why I don’t see it happening.

  4. it was painfully obvious when i was managing Record Runner; the underground music i play isn’t underground because it’s inaccessible…playing it on the overhead speakers and putting in the listening stations sold it like MAD; people just needed to be exposed to it, and exposed to acts that were similar although IMO better than what they liked already, more complex and developed than the mainstream versions of similar styles…i can’t tell you how much Scorn or Here or Phylr i sold to people who had only heard Portishead or how many copies of Test Dept. ‘Totality’ or Haujobb’s ‘Solutions…’ i’d sold….even my buddy Simon from Test Dept. showed me his SoundScan numbers [shows sales by city] and Ottawa was exponentially higher than any other, all because people just needed to hear it…

    i’d always assumed people just needed to hear this stuff, but i was BLOWN AWAY over just how right i was, over just how much people LOVED underground music once they had the right exposure to it….give me any crowd of mainstream music fans and i’ll send them all home with underground music they’ll love, and maybe love more than the mainstream stuff they know already, i guarantee it…this truth held strong for the years i was at Record Runner, and is proven every Tuesday night when i get some lame request i won’t play and instead offer to play something similar but better IMO and end up writing out a list of acts for that person to take home and look up….it’s amazing to me just how popular these underground acts get with just a little exposure, and the ONLY reason they aren’t more well known has NOTHING to do with their sound and instead is solely due to exposure, exposure to the right audience…

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