[Commlist] CFP: Bodies, Noise and Power in Industrial Music

Bodies, Noise and Power in Industrial Music

Edited by Elizabeth Potter and Jason Whittaker

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_Collected edition: deadline for proposals, 28 February, 2020_

Following its appearance as part of the post punk scene in the late 
1990s, industrial music was very much concerned with emerging critical 
engagement with configurations of the body, whether through such forms 
as applications of different technologies, electronic body music (EBM), 
fashion or involvement with what would become known as posthumanism and 
transhumanism. The first group to use the phrase “industrial music” to 
describe their work, Throbbing Gristle, built upon earlier performance 
art techniques developed as part of the art collective COUM 
Transmissions. Meanwhile, developments in digital technologies 
influenced both the formation of industrial music and conceptions of its 
relations with the body, as seen in  Shinya Tsukamoto’s 1989 film 
Tetsuo: The Iron Man, the ambient industrial music of groups such as 
Skinny Puppy, Frontline Assembly or Front 242, or the posthumanist 
visions of artists such as Stellarc and Genesis P. Orridge. After 
finding mainstream success in the late 90s and early 2000s via groups 
such as Nine Inch Nails and Ministry, industrial music appeared to enter 
a lull, a state of affairs that continued for over a decade until its 
metamorphosis into related genres such as industrial metal (Rob Zombie, 
3TEETH), hardcore-influenced industrial (Youth Code), multigenre 
experimentation (Death Grips), dance music (Chrome Corpse), analog 
minimalism (Sally Dige), and queer noise (dreamcrusher).


Recent years have seen a series of books essentially concerned with the 
history of industrial music as a historical phenomenon, usually 
concentrating on individual groups such as Simon Ford’s The Wreckers of 
Civilisation: The Story of COUM Transmissions and Throbbing 
Gristle(2003) and Alexei Monroe’s Interrogation Machine: Laibach and the 
NSK (2005). Since the revival of interest in industrial music, more 
widely thematic titles such as Surhone’s and Timpledon’s Neofolk(2010) 
and Karen Collins’ A Bang, A Whimper and A Beat(2012) have begun to 
consider wider cultural implications of the genre.


This proposed title will be a collected edition in the series Pop Music, 
Culture and Identity, edited by S. Clark, T. Connolly and J. Whittaker 
and published by Palgrave (https://www.palgrave.com/gp/series/14537). 
Despite assumptions as to the transience of various forms of pop music, 
as a cultural medium this has proved to be an enduring art form that has 
become extremely important from the mid-twentieth century onwards in 
terms of defining identity. The series as a whole, currently comprising 
some 24 titles, is dedicated to exploring the impacts of popular music 
on cultural formations and gives a particular emphasis to 
interdisciplinary approaches that go beyond traditional musicology. 
Unique to this series from Palgrave, we encourage the written experience 
of an informed fanbase alongside academic methodologies.


Possible themes for this collection include (but are not limited to) the 
following:


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    Audience Abuse (such as that by bands such as Throbbing Gristle,
    Skinny Puppy, GWAR)

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    Rivetheads and Fashion

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    Electronic Body Music (EBM) and Dance

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    Cut-up Techniques for Body and Sound

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    Uniforms and Iconography (BDSM)

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    Diet

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    Animal Rights

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    Body as Instrument

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    “Listen with Pain!”

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    Black Industrial/Industrial Metal

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    Body Modification

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    Fetishim and Sexualities

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    Cultural Appropriation

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    Distorted Sounds/Identities and Noise

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    Soma Technics



Abstracts of up to 300 words along with a short biographical note (50 
words in the same Word document) should be sent to Elizabeth Potter 
((emp534 /at/ york.ac.uk)) and Jason Whittaker ((jwhittaker /at/ lincoln.ac.uk)) by 28 
February 2020.



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