Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Industrial Evolution by Mick Fish. In this work Mick Fish takes the reader on a journey through the eighties via the Sheffield music scene of Cabaret Voltaire, the Human League, and others, offsetting it against a background of rampant Conservatism and local authority politics.
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Rating details. More filters. Sort order. Jan 06, Adam Williams rated it it was amazing. A fascinating look back at a time in music I was too young to enjoy, and a time in politics I was thankfully too young to enjoy. Also, having lived in Sheffield, it was good fun identifying and picturing where things went on.
Glad to hear places like The Washington have barely changed As for Cabaret Voltaire, confirmation for me, as if any were needed, that they were years ahead of their time. Nov 29, Dont rated it liked it Shelves: listening. He recalled a moment when the group was still a trio with Richard H. Kirk and Chris Watson and they were invited to participate in a festival of musique concrete in France. Mal describes how all the luminaries of acousmatic music were present. But rather than embracing the band as a new generation of fixed-sound architects, the musique concrete elite were horrified by the bands punk rock attitude and noise anarchism.
In retrospect, the band marks an interesting gap between the European experimental music tradition, namely following Pierre Schaeffer, and the American Beats - specifically William Burroughs. After all, a large part of the affinity between the early Cabaret Voltaire and Throbbing Gristle was precisely a shared indebtedness to the Burroughs-Gyson cut-up method. For many onlookers at the time, the experimentalism of the Sheffield noise-makers was deemed a continuation of the strategies of cut and loop from the GRM scene around Schaeffer.
Some would argue that the Cabs rescued musique concrete from its dry academic orientation and returned it to the avant-garde agonism that began with Dada. However, if this were truly the case, then it wasn't by way of the French at all but via Burroughs. In fact, the band provide a necessary case study for why the cut-up method should not be made synonymous with Schaeffer's cut and loop. If we reduce the difference to one of attitude then it is an attitude with material and linguistic consequences.
In fact, it is in language that the cut takes place and not in the technocentric experimentalism of the high avant-garde. Language, drugs, a lurid fascination with the grotesque and a rage against bourgeois normativity and control, this is the basis of the cut-up.
Mick Fish's interviews with the band in the mid to late s were first compiled and published in the book, The Art of the Sixth Sense. Fish would eventually release the book on his own imprint, SAF Publications -- a crucial resource for books on Britain's industrial culture of the '80s and beyond. In Industrial Evolution, Fish releases those interviews for the third time. However, the bulk of the book is given over to an autobiographical account of the author's life in the '80s divided between alcohol-fueled weekends in Sheffield hanging out with Cabaret Voltaire and weeks working for the local Council at a rubbish depot.
grupoavigase.com/includes/383/5541-la-mejor.php Between these poles of experience, Fish stitches together a description of the consequences of Thatcherite policies on all quarters of everyday life for young working class Brits; from the destruction of trade unions, the increasing pressures from government austerity, and the impact of these on even the most sub of sub-cultures.
Thus, what begins as a revolution in cultural autonomy eventually, by the end of the '80s becomes completely absorbed in the monopolies of corporate entertainment.
Cabaret Voltaire, the band, comes to epitomize this trajectory from their independent roots in labels like Rough Trade and Factory through Virgin records and then, finally by , a contract with the entertainment conglomerate EMI. I read The Art of the Sixth Sense many years ago and really appreciated the interviews with their portrait of three working class men balancing the demands of supporting themselves through their art and adhering to a principled working class ethic. Industrial Evolution provides the larger story behind those interviews.
A filmmaker would attempt to bring the two texts together, cutting between Fish's vivid images of life as a council worker and hanging out in pubs with the Sheffield musicians and then the more sober reflections of those same musicians. But here we have the two texts separated out.
As a piece of music writing, the author is deeply invested in his own impressions and positions. The Virgin years, specifically the album The Crackdown is seen as the high point in the band's output. Conversely, the Chicago House of s Groovy Laidback and Nasty is dismissed as pointless and evidence of the band's surrender to crass commercialism. Mal was suddenly singing, for Chrissakes.
Fish is not alone in those opinions. On the numerous live recordings released by the band over the years, one can always hear audience members calling out between songs, Nag Nag Nag or, give us Yashar. There is a long story to this book. The author is a weirdo living in London. When he saw an announcement of a concert of Throbbing Gristle, Fish expected this to be a punk band and he rattled up some friends to check it out. Cabaret Voltaire set off in and already a few years later Fish took up the idea to write a book about them.
This results in a strange book with a chapter about Fish himself and then a chapter about music, etc. Fish shows himself to be a fanatical consumer of beer. Lateron he starts to use different kinds of drugs and describes how this heavily influenced his life.