Faber and Faber
A long time ago, I wrote that Genesis P Orridge singing “marmalade” in Throbbing Gristle‘s “Hit By A Rock” on D.O.A. was the key moment in industrial music, a moment that most of the “industrial” artists that stomped around in the wake of TG utterly missed. You couldn’t imagine SPK or Clock DVA or Nine Inch Nails or whoever having “marmalade” in their lyrics
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Faber & Faber
Back in 1986, some real waves were made by the publication of The Audit of War, a bitter and excoriating account of Britain’s strategic socio-economic decision-making during the first ten years after World War Two. The work was written by revisionist (military) historian Correlli Barnett, who critiqued – unfavourably and controversially – the ethos that guided Britain through its immediate decade of post-war reconstruction.
Barnett’s narrative unflinchingly took apart many of the myths that the UK wrapped around itself in the aftermath of its victoryi, and which subsequently became a blindfold that prevented it from seeing itself as it truly was in the mirror and doing something about the more urgent and unattractive parts of the reflection. The book itself was a polarising affair, a real
Continue reading David Stubbs – Future Days: Krautrock and the Building of Modern Germany […]
Infinity Land Press
John Balance dies and becomes a kind of saint. This is a hagiography of sorts, though it doesn’t attempt to smooth edges or unwrinkle ravages; it’s clear in these beautifully-presented pages that he was a complex, maybe difficult man. It’s also clear that he was a flame that attracted people to him, a person so out there that he was able to continually make them feel welcome. A man full of light, or spectral kindness, of deep morality. A balance.
Like many Coil fans hearing about this book, I was hooked between two poles, pulled apart by horses: on the one hand, we all want more; more insight, more detail about the processes and the paradoxes behind the
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Disinformation/Strange Attractor Press
“I love the dead before they rise, no farewells, no goodbyes.” Alice Cooper’s “I Love The Dead” is surely the definitive romantic ode to the dearly departed, but he was by no means the first to spend his time romanticising those now six feet under.
Nikolai Federov was one of the most radical thinkers in Russia during the Nineteenth Century. For a man who lived in the Victorian era, Federov’s brand of kooky futurism encompassed such far-out and far-forward notions as space travel, colonisation of the oceans, the perfection of the human race and immortality. But as well as being impressively visionary, he was also madder than a soup sandwich. One of his core beliefs was that in order for the human race to truly become
Continue reading Joe Banks – Rorschach Audio: Art & Illusion for Sound […]