This brings a new feel toward the genre and a sort of surprise to the fans as far not knowing which song is going to have a touch of another of their favorite bands.  Granted some of the remixes should have been left as a thought and never produced, but I suppose every artist as their bad moments.  

On top of that, many DJ’s have gone about remixing songs, with consent of course, and have proven to be very good. They’ve most often added a new feel to the song as far as making the tune more mellow or angry. It’s either one of these or pure crap when it comes to change the sound. Least that is what I found out to be true.

As Always, Here is A Fix

Post from: Industrial Addiction

In this time and hour of the century, when people ask: “What are some of the most influential bands for industrial music?” people often give the response of bands such as Skinny Puppy, Depeche Mode, Oghr, :Wumpscut, Pigface, & K.M.F.D.M. Though these bands have done a great number on seeing industrial music keep a presence and expand, the band Kraftwerk, has often been neglected.

This band was the most and is the highest on the board for influencing industrial music.

During the mid-’70s, Germany’s Kraftwerk established the sonic blueprint followed by an extraordinary number of artists in the decades to come. From the British new romantic movement to hip-hop to techno, the group’s self-described “robot pop” — hypnotically minimal, obliquely rhythmic music performed solely via electronic means — resonates in virtually every new development to impact the contemporary pop scene of the late- 20th century, and as pioneers of the electronic music form, their enduring influence cannot be overstated. Kraftwerk emerged from the same German experimental music community of the late ’60s which also spawned Can and Tangerine Dream; primary members Florian Schneider and Ralf Hütter first met as classical music students at the Dusseldorf Conservatory, originally teaming in the group Organisation and issuing a 1970 album, Tone Float. Schneider and Hütter soon disbanded Organisation, re-christening themselves Kraftwerk (German for “power station”), beginning work on their own studio (later dubbed Kling Klang), and immersing their music in the fledgling world of minimalist electronics; their 1971 debut, titled simply Kraftwerk 1, offered a hint of their unique aesthetic in its earliest form, already implementing innovations including Schneider’s attempts at designing homemade rhythm machines.

A series of lineup shifts followed, and at one point Hütter even left the group; however, by the release of 1972’s Kraftwerk 2, he and Schneider were again working in tandem. Recorded without a live drummer, the album’s rhythms relied solely on a drum machine, creating a distinctly robotic feel without precedent — the concept of purely technological music was, at the time, utterly alien to most musicians, as well as listeners. A series of well-received live performances followed before Kraftwerk began work on their breakthrough third LP, 1973’s Ralf and Florian; honing their many ambitions down to a few simple yet extraordinarily innovative concepts, their music began growing more and more revelatory — even their clean-cut, scientific image was in direct opposition to the dominant pop fashions of the time. Kraftwerk’s first album to be issued in the U.S., 1974’s Autobahn was an international smash; an edited single version of the epic title track was a major hit at home and abroad, and in America the previously unknown group reached the upper rungs of the pop albums chart. Performed in large part on a Moog synthesizer, Autobahn crystallized the distinctive Kraftwerk sound while making the group’s first clear overtures towards conventional pop structure and melody, establishing a permanent foothold for electronic music within the mainstream.

Kraftwerk resurfaced in 1975 with Radio-Activity, a concept album exploring the theme of radio communication; indicative of the group’s new global popularity, it was released in both German and English-language editions, the latter appearing early the following year. Train travel emerged as the subject of 1977’s Trans-Europe Express, which marked an increased movement towards seeming musical mechanization; the line became even further blurred with the follow-up, 1978’s aptly titled The Man Machine, a work almost completely bereft of human touches. By this time, the members of Kraftwerk even publicly portrayed themselves as automatons, an image solidified by tracks like “We Are the Robots.” Having reached the peak of their influence, however, the group disappeared from view, the first of many extended absences to follow; they did not return to action prior to 1981’s Computer World, a meditation on the new global dominance of technology — a society their music long ago predicted and pre-dated. After topping the British charts with the single “Computer Love,” Kraftwerk again vanished, enjoying a five-year layoff culminating in the release of 1986’s Electric Cafe. By now, however, pop music was dominated by synthesizers and drum machines, and the group’s stature flagged; but for a 1991 best-of collection titled The Mix, they remained silent during most of the decade. They finally released a new single, “Expo 2000,” in late 1999, and surprised fans by announcing tour dates. On the recording front, Kraftwerk celebrated the centennial anniversary of the Tour de France with a new version of their 1983 single “Tour de France,” and followed with a full album Tour de France Soundtracks in August 2003. The live record Minimum-Maximum followed in 2005.

As Always, Here is A Fix

Post from: Industrial Addiction

Year after year, music is not only changing because it wants to, but also because people demand it to. Hip – Hop wasn’t as prevalent sounding as it was in the past. This so because society demanded a new form of it and the hip hop found today is the outcome.  

The same goes for industrial. Too many rivitheads and industrialists are clinging to the old form and not accepting the new. This is unfair to not only the bands that are coming out, but too many people who wish to find information and new bands in this great genre.

Why many people do this, I have no idea. Perhaps they are leaving their comfort zone if they accept bands like Covenant or Combichrist as Industrial. Maybe they are just having trouble knowing that they are growing older with each passing year and the fact that industrial music doesn’t sound the same as it used to. Maybe that is breaking their hearts. The worst part of it could be the fact that these people just aren’t considerate or even wise enough to understand that nothing stays the same forever and are having trouble letting go.  

Whatever the reason maybe, these people need to quit while they are ahead and stop trying to ruin something that is good, just because they aren’t able to comprehend what is going on. I’m not dissing or trying to bad mouth these people in anyway, but what I am saying is simply this.

LOOSEN UP. IT’S MUSIC.

Music is meant to be enjoyed by all. Industrial doesn’t have to be your preferred genre, and no one is saying it has to be. No one is also saying that just because these newer bands do not sound like the older bands that they are NOT industrial.

The fact is they are. Combichrist, Cruxshadows, Covenant, VNV Nation (YES I SAID IT), and the newer F.L.A and Front 242 are IN FACT, industrial. That is where they have their inspiration and that is their sound. It is okay to choose not to accept them as industrial, but to say they are in no way shape or form industrial is just rude. Please people; don’t ruin something so good for others due to being biased.

Post from: Industrial Addiction