Assimilate

Introduction ; 1. A Fading Vision Lost in Time ; 2. The Pan-Revolutionary ; 3. The "I"-Word ; Part 1: Technology and the Preconditions of Industrial Music ; I. Italian Futurism ; 1. Industry ; 2. The Aesthetics of the Machine ; 3. Crash ; II. William S. Burroughs ; 1. Junkie ; 2. The Control Machines ; 3. Brainwashing and the Conflation of Authority ; 4. Mediatic Verses ; 5. The Cut-Up ; 6. Process as Composition ; 7. Media ; 8. Techno-Ambivalence ; III. Industrial Music and the Avant-Garde ; 1. Noise and Revisionism ; 2. The Revolutionary Class ; Part 2: Industrial Geography ; IV. Northern England ; 1. Progress in Hell ; 2. The Original Sound of Sheffield ; 3. Meatwhistle and ClockDVA ; 4. Throbbing Gristle ; 5. Manchester in the Shadow of War ; V. Berlin ; 1. An Island Out of This Planet ; 2. Strategies Against Architecture ; 3. German-ness ; 4. Ingenious Dilettantes ; 5. West Germany Beyond Berlin ; VI. San Francisco ; 1. Madness in Any Direction, at Any Hour ; 2. Monte Cazazza and Self-Propaganda ; 3. Z'ev and Survival Research Laboratories ; 4. Factrix and Chrome ; VII. Mail Art, Tape Technology, and the Network ; 1. Fluxus and UFOs ; 2. A History of Tape Trading ; 3. Taping as a Political Act ; 4. The Eternal Network ; 5. A Virtual Scene ; Part 3: Industrial Music as Music ; VIII. The Tyranny of the Beat: Dance Music and Identity Crisis ; 1. Those Heady Days of Idealism Are Over ; 2. Irony ; 3. Technology and Rhythm ; 4. Futurist Pop ; 5. Pleasure ; 6. Industrial Identity ; IX. <"After Cease to Exist>": England 1981-1985 ; 1. The Mission is Terminated ; 2. London ; 3. Beyond London ; X. Body to Body: Belgian EBM 1981-1985 ; 1. A Satellite State ; 2. Luc Van Acker ; 3. Front ; 4. Musical Order ; 5. Bodily Order ; XI. Industrial Music as a Theatre of Cruelty ; 1. Artaud-Damaged ; 2. Theatricalities of All Kinds ; XII. "She's a Sleeping Beast": Skinny Puppy and the Feminine Gothic ; 1. From Pop to Puppy ; 2. Vancouver's Fertile Ground ; 3. Disrupting Maleness ; 4. The Feminine Gothic ; Part 4: People and Industrial Music ; XIII. Wild Planet: WaxTrax! Records and Global Dance Scenes ; 1. Industrial Music and the Mainstream ; 2. The Beginnings of WaxTrax! ; 3. Ministry ; 4. Mixing and Merging ; 5. The Business of Chaos ; 6. Clubbing and Participatory Culture ; 7. New Beat ; 8. The WaxTrax! Heyday ; XIV. Q: Why Do We Act Like Machines? A: We Do Not. ; 1. Pretty Hate Machine ; 2. Industrial Harmony ; 3. Language, the Self, and Gender ; 4. Get Me an Industrial Band ; 5. Resembling the Machine ; XV. Death ; 1. Death as Event ; 2. Death as Metaphor ; 3. Death as Fashion ; 4. New Life ; XVI. Wonder ; 1. Covenant and the Ubiquitous Sublime ; 2. Apoptygma Berzerk and the Spontaneous Sublime ; 3. VNV Nation and the Unthinkable Sublime ; 4. The Futurepop Backlash ; 5. Clubbed to Death ; 6. The Longevity of Industrial Bands ; 7. Industrial Music Is Dead? ; Part 5: Meaning and Revolution ; XVII. Back and Forth: Industrial Music and Fascism ; 1. Extremism as the Norm ; 2. Silent Politics ; 3. Loud Apolitics ; 4. The Effects of Fascism's Spectre ; 5. Fascist Assimilation ; 6. The Hidden Reverse ; XVIII. White Souls in Black Suits: Industrial Music and Race ; 1. Whiteness ; 2. The Inheritance of Blues, Jazz, and Dub ; 3. Exotica, Caricature, and the Techno-Oblivious ; 4. Technology and Racial Engagement ; 5. Black and White ; 6. Repetition and the English Ballad ; XIX. Is There Any Escape for Noise? ; 1. Unpalatable Truths ; 2. The First Two Options ; 3. Transgression as Law ; 4. The Future Happened Already ; 5. Pleasure, Flag Planting, and Revolution ; 6. The Third Mind