Industrial music is my gateway drug of choice.
It’s opened up a lot of audio pathways for me over the years, most recently techno but also goth, musique concrete, New/No Wave, drone, and—via the label formed by the originators of industrial themselves, Throbbing Gristle—jazz and blues. The Industrial Records Story is a compilation of the seminal imprint’s material from 1976 to 1981, and I managed to snag myself a somewhat battered copy when I was sixteen. Sandwiched in the middle of Cabaret Voltaire and Clock DVA is the velvety voice of Elisabeth Welch performing the downhearted blues standard “Stormy Weather”, and as a kid eager for fresh ways to express the angst bursting from his pores, it was incredible to discover that Ian Curtis hadn’t invented misery. The bitter acceptance dripping from Welch’s voice as she laments, “Just can’t get my poor self together,” feels like a logical extension of the synthetic, noisy nihilism that was Industrial Record’s normal output. It was a new world for me, and I devoured it eagerly: Skip James, Billie Holiday, Nina Simone, Son House, and Junior Kimbrough all became frequent visitors on my turntable. I was drawn to this music for its depth of melancholy, its rich and genuine emotion, and its ability to speak of the troubles of life that bridge generations—and of the perseverance to continue.
Some days I just want to go to a club where everyone looks like really cute extras from Blade |
(Source: lacooletchic, via darkspiration)