Wednesday, May 29, 2013


As I do on most weekdays, I'm sitting here in front of my computer, working on remixes, new songs, etc.. but, also, as I do on most days, I wander over to Facebook now and again to see what's going on in the lives of my 199 friends. Today's mindless surfing brought me to a recent article from I Die: You Die, which in the most chipper of fashions the author hails that "Revolution has come to the industrial scene!" He praises it for many things, some of which I agree with, but his assertion of the Rebirth of the North American Industrial Scene is so off the mark that I am compelled to write my own rant deriding it. Now, it's true, I am quite often a pessimist, but I do like to look on the bright side from time to time. And, as someone who has traveled across the globe, experiencing various incarnations of this little scene of ours, I feel like my perspective may be a bit helpful.

Off the bat, I will admit that I do not feel very close to the "industrial" scene. I come from the dark electronic music scene, it has offered me a platform to build my band and share my music with the world. But from the beginning, like with all scenes, I felt a bit put off by the arrogance espoused by those who believe that belonging to some rigidly structured subculture was somehow less conformist than being a mainstream pop artist. I mean, really, whatever clothes you put on, whatever music you listen to, if it does not represent you 100%, then it is merely a costume, and therefore a total sham. I can't tell you how often I have been mocked for liking hip hop, or how often I get crazy looks backstage when I put on Madonna to warm up. I simply cannot reconcile that kind of closed mindedness, especially from people who want to pretend that they are open minded.

But I digress. I'm here to tear apart an article, not go on a tirade about why I hate scenes.

The author offers up five points, the first of which hails the opening of Club Complex in Los Angeles as a sign of the virility of the North American industrial scene. First off, I love Complex, I love the concept, I love the vibe. I've been there many times, the owner is a friend of mine. But let's be real. The scene in Los Angeles has ALWAYS been great. From my days of using fake ID's to get into Nocturne and Dungeon, up to the present when Aesthetic Perfection draws 800+ people at Das Bunker (the largest crowd we have EVER drawn ANYWHERE in the world), I have never seen a dip in the enthusiasm and passion LA folks have had for this kind of music. In fact, I believe that the fact that Complex has opened here is a testament to the Los Angeles scene, and not the North American scene at large. I would go so far as to suggest that if such a club opened anywhere else, it would flop.

He continues by boasting about the North American festivals. Which leaves me thinking; "Uhm, have you ever even been to a European festival?" Wave Gotik Treffen has an annual average attendance of 20,000 people. M'era Luna brings in around 25,000. I have played all 3 of the North American Festivals he mentioned. I am friends with all the promoters. They are all awesome people investing tons of money to trying to breathe life into this scene. But to try and compare them to the German festivals is simply disingenuous.

Our intrepid author continues on by insisting that the resurgence of older Cold Wave bands is somehow indicative of progress. While it may be great to see some fire still burning in the bands that helped forge the American sound, I'd rather see new bands shaking things up. There will ALWAYS be a market for great bands of the past. But we need to be focusing on the future.

Forging on, the author makes the assertion that the new Skinny Puppy record being released on an industrial label is GOOD for the scene. That somehow their faith in this label is a testament to it's strength… or… something? On the whole, I feel this is totally irrelevant. Metropolis is THE label for this kind of music. Hands down. From my personal experience, the type of freedom and support they offer their bands is something most artists on other labels could only hope for. I quite enjoyed this record, as I think a lot of people did, but we have to be honest about our North American sensibilities, and how they fit into the global market. The new SP record will NOT be released in Europe. Sonic Seducer recently reported, and I quote, "fans were no longer interested in listening to, or paying for, Skinny Puppy's sound experiments, which is why SPV decided to pass on licensing this record."

I think this is quite a statement about how the old world views our tastes in music. To me, passing on a band like SP is absurd, but they did it because it wasn't economically viable. Just sit and think about that. Let it sink in. The most influential and important North American industrial band is not economically viable in Europe.


In his final point, he contends the new wave of minimal, dark alt, minimal synth, whatever the hell you want to call those hipster bands coming out right now is beneficial to us, because their success will add credibility and cross pollinate our scenes. My prediction is that is is absolutely, positively, 100% not the case. My very unscientific position is that we are dealing with hipsters, and hipsters are even more elitist and arrogant than the industrial scene! Because a bunch of people from our scene enjoy what they are doing, does not mean that it will be reciprocated by them. What I suspect even more, is that as our bands begin to incorporate the styles and inspirations used by these hipsters, once they notice, they will immediately move on to a whole new kind of music. That is what being a hipster is all about! My more scientific position relates to the fact that our scene is REVILED by the majority of other scenes out there. And this, I believe, is the key to what is holding the genre back, and what has held it back for so many years.

You would be surprised how quickly one is to judge you negatively when you tell them you make "industrial" music. You would be surprised at how quickly your demo is rejected for review by the music magazines, you would be surprised how quickly your album is thrown into the trash by blogs like Pitchfork. Lots of people like to pretend that this is somehow related to the masses being against aggressive electronic music. Well, the current trend of dark electronic music being consumed by the masses would seem to counter such a claim. Skrillex is pretty goddamn heavy, TRUST is pretty goddamn dark and Grimes is pretty goddamn gothy. From my point of view, what is really holding the scene back, is the fact that the majority of the music is terrible. Terribly produced, terribly written and terribly performed. The soul that gave us credibility back in the 80's and 90's is all but gone. Style over substance, ego above humility, the drive to be unique quashed by the fear of not being accepted. Think of any other genre where the vocalist of a band is not THE defining sound of that band. How many vocalists in this scene can you count that have a voice you KNOW the second you hear it? Certainly not that many. A handful? And those are the top players in our scene.

Mind you, I am willing to concede that there is A LOT of terrible music out there that has become successful, and there is some outstanding scene music that gets no recognition at all. Why them and not us? Well, it's been my experience that what one lacks in talent can often be made up for in hard work or an awesome gimmick, but I don't see many bands investing a lot of effort into their live shows, their music videos or their image. Practically none of our bands are willing to put any sort of real effort into their musical endeavors.

What I do see are amateurs at all levels. Bands performing their lackluster music in a lackluster fashion. Promoters that are fans first, and businessmen second. People who would rather spend their time backstage drinking with the band than making sure that their event is running smoothly and making money. For the people behind the scenes, this is work, it isn't a social club. This type of attitude is NOT prevalent in mainland Europe. Sure, promoters may be fans, but their number one goal is to turn a profit. This may seem counter to DIY culture, but from my perspective, DIY means "DO IT YOURSELF" as in "DO SOMETHING"! DO ANYTHING! Get off your ass and work. Save your namedropping and douche-baggery for AFTER the show.

As I said at the beginning, I am indeed a pessimist, and a lot of what I see going on in our scene here in the Americas makes me even more so, but I'm not blind, I do see a bright side. We've got some seriously talented up and comers in this scene. Guys with attitude, flair and killer music to boot. We've got hard working, driven promoters who are equal parts fan and businessman. I feel invigorated by the hunger I see in the eyes of this young blood. It motivates me to work even harder. To tour more and bleed for the music I love so much. Is it even industrial anymore? To me, no. I feel no more connected to Throbbing Gristle than I do to The Beatles. "Industrial" means nothing to me anymore. It's a label used by those who are just as elitist as the hipsters who won't let us into their party. Let's be ourselves. Let's find our passion again. Let's find our REAL voices and be heard. Let's create a whole new era of dark electronic music. Let's stop looking back and march forward into the fire. Whatever's left will be the best of us.

Friday, January 4, 2013

The difference is vast...

There is a big difference between selling a piece of art as a product, and selling a product as if it were a piece of art.