Dear New Skinny Puppy Album,
Dear New Skinny Puppy Album,
The first new Skinny Puppy track will be released on the soundtrack to the unremarkable looking vampire/werewolf movie, Underworld. It’s called Optimissed, and it’s credited to Ogre/Key/Walk. The soundtrack (which looks much better than the film) comes out Sept 2nd.
Also: New Ministry/RevCo/Lard albums soon, and a tour next summer.
Left Hand Path: The photographic, film and video works of Peter Christopherson.
One more quote, from Peter Christopherson, Co-founder of Throbbing Gristle, Coil, and Industrial Records.
“The original idea of Industrial Records was to reject what the growing industry was telling you at the time what music was supposed to be.”
[Dwayne and cEvin] were unable, through jealousy, to allow Ogre to shine. So in Skinny Puppy, the dynamic was to suppress Ogre, and his opinion and just like the worst, worst, _worst_ dysfunctional family, there was also a support system, in which Ogre’s belief in himself and his opinion was constantly invalidated to the point where I think Skinny Puppy is dangerous for Ogre as a human being.
You have a very strong point of view.
You spend a day with those guys and you see it. When you see what I’ve seen…
What about Dwayne and Cevin’s relationship?
It’s sad. I think Dwayne is a very talented individual who, because Cevin taught him some things four years ago, and because Cevin believes Skinny Puppy is _his_ band, Dwayne will never be anything more than Cevin’s assistant.
It’s pretty twisted to see it in action. I feel very lucky to NOT be a part of a situation like that where …you know, the closest I can explain it to you – if you’ve seen Amadeus – the relationship between Mozart and Salieri.
The Future is Happening Already: Industrial Music, Dystopia and the Aesthetic of the Machine — A PhD thesis final draft from Karen Collins at the Institute of Popular Music.
A few words:
“This thesis represents the first comprehensive overview of a genre of Western popular music known as industrial. It asks the questions, ‘What is industrial music, who creates and listens to it and why: what does it mean to its producers and audience, and what do they believe in? How is the music mediated and disseminated? What does the music communicate, and how does it communicate this meaning?”
In exploring these questions, the thesis uses industrial to develop a methodological investigation into genre in general, asking what might be learned from a detailed interdisciplinary approach to the process of communication within the limits of a genre. Systematic methods involving a variety of approaches were undertaken. These methods included content analysis, hermeneutics, semiotics, an internet questionnaire, interviews, reception tests, a case study with Swedish industrial band Project-X, participation and participant observation in Canada and England from 1999 to 2002.
The results of the study show that, in reception tests, both fans of the music and those unfamiliar with the paramusical elements of the industrial genre have similar connotative responses. Nevertheless, the interpretation of those connotations differed, even to the point of being diametrical. The thesis uses the term ‘supplementary connotations’ for this additional level of meaning, suggesting that familiarity with a genre guides an audience towards a text’s deeper meanings and values. The research shows that industrial has specific signifiers which help to situate the music in a distinctly dystopian setting.
In exploring industrial, therefore, the thesis also introduces musical representations of dystopia and Hell; in particular, the use of mechanical motifs as a critique of rationalisation in the twentieth century. The thesis then suggests industrial music draws on this long tradition of apocalyptic notions to express in particular an alienation from, and critique of, late capitalism.”