#the gritty industrial instrumentals

[ennuijpg]

chrome arts but specifically the parts that made me feel the most insane

[psychedeliclush]

( INFORMATION AND EXAMPLES OF EACH GENRE UNDER CUT )

ART ROCK !

Artists: David Bowie, Kate Bush, Talking Heads, Pink Floyd, Radiohead

Most popular Era: 70s

Basic definition: Art rock is a loose sub-genre that refers to a style of rock that takes a more avant-garde approach. Using thought-provoking lyrics and experimental techniques, art rock blends multiple genres, including classical music, jazz, and electronic music into their palette, creating a rich and diverse sound. With a focus on artistic expression and pushing the limits of creativity, art rock became popular when artists such as Kate Bush rose to prominence.

Song examples:

INDUSTRIAL ROCK !

Artists: Nine Inch Nails, Ministry, Skinny Puppy, Powerman 5000, Mindless Self Indulgence

Most popular Era: late 80s - 90s

Basic definition: Industrial rock is a genre of music that combines the aggression and instrumentation of rock with the mechanical and electronic sounds of industrial music. With its roots in the late 1980s, industrial rock often features distorted guitars, heavy percussion, and synthesizers to create a harsh, gritty sound. Artists in this genre frequently incorporate samples, loops, and other electronic elements into their music to enhance its industrial feel. Lyrics in industrial rock often touch on themes of dystopia, technological dependence, and societal decay,

Song examples:

[redcomet-stims]

Content warning: blades, broken glass

💙💬💛 Song-inspired stimboard: I'm a Controversy by Ado (prod. Pinnochio-P); with color-related theming and technology!

I tried my best to make the theming somewhat fit the meaning of the song...or at least how I see it. I hope this is good and that I did this amazing song justice. This is another one of my favorites from Ado, because I love how gritty and chaotic the music sounds. Ado's voice has this very angry-ish quality to it, and Pinnochio-P's instrumental really adds to it.

When I was trying to read up on the meaning of this song, I saw a few things that made me...kinda annoyed, to say the least. It was a review website and a LOT of them were negative in ways that didn't really make sense to me! One of the reviews was just talking garbage about Pinnochio-P, calling his lyrics something along the lines of "surface level, edgy, and repetitive stuff meant for 12 year olds" (indirect quote, BTW), and that comment made me really pissed. Not every song has to have the most indirect, metaphorical lyrics ever! Music is allowed to have ranty and direct-ish lyrics! And even then, I felt like the lyrics did have a good mix of symbolism and direct comments, which is not a bother, I'd say that's actually good! A lot of people on that website just generally did not like how chaotic-sounding this song is. And no hate, you don't need to like this sound, but I LIKE IT AND IT IS NOT BOTHERING ANYONE. Go off and have your opinion, but you don't need to...trash the song because of it?

And...do the people that are belittling this song realise that they are kinda feeding into what this song is talking about? To me, it's a song about not being seen as "perfect" by the general population, being pressured as an artist because of very high expectations, and it all stressing you out because people always expect everything you put out to be exceptional. That's how I feel about it, at least, I might be a little wrong. Not only is that an important thing to talk about because of how relevant it is to the music industry or general arts in the modern world, but as someone who makes things and likes doing artistic hobbies, THAT MEANING RESONATES WITH ME! I always feel like everything I do and everything I publish to the world has to be perfect, or else I'll be hated for it! This writing is SO REAL to at least a GOOD AMOUNT OF ARTISTS OUT THERE, and I LOVE THAT!!!

...sorry for the rant. I just really like this song.

Sources:

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[dustedmagazine]

Jandek — Vision of Jewels (Corwood Industries)

There is something mystically earthy about Jandek. At its best, there is something dichotomously familiar, a yearned-for, half-buried thing nearly recognizable underneath aggregates of sounds never quite as disorderly as they might appear. Despite a long-term low-fi aesthetic, the Corwood rep’s studio albums always sounded pretty damn good, but the recent ones sound fantastic, including this one, released at the end of 2023. It sounds like a band effort, though, as might be expected, no credits are given. What is certain is that the Jandek groove is there throughout the four lengthy pieces comprising Vision of Jewels, that slow, deep but elastic groove integral to so much of what the rep’s been laying down for 45 years.

It seems as if the whole thing has been channeled through a strategically dirtied lens through which the more mysterious elements of early 1970s Faust take misty shape, a portrait dotted with the specks and spots connoting the carefully chosen debris of intersecting musical histories. The opening percussion coaxing the appropriately named “Viewing the Realm” into its fractured but somehow unified existence crackles with that Werner “Zappi” Diermaier electricity, timbral jitter with the calm of rumbling drone just beneath, nodding toward many musics but beholden to none. Gritty strings and skronky saxophone pave the way for bluesy syncopated guitar seasonings. They haunt the spaces either side of the rock-solid bass-and-drums center as it evolves along its collectively improvised path. How wonderful to be able to dig deep into sonic synchronicities, like the major chord fully emerging at 10:21 but flowering from a gutbucket-soaked lead-in and dissolving in similar fashion. Another and equally fragrant groove spring-loads the album opener, “White Quartz”’s first moments. It’s all calm, no matter how many heaps of sonic objects and oceanic swells entrap fragmented melodies without ever quite overtaking them. Amidst the rhythmic steadiness in constant juxtaposition with its shambling melodic counterparts, moments of astonishing beauty glisten and radiate, like the ethereal left-channel harp, possibly sampled, crowning the first gestures of “Star Specks.” As if by some organic process of development, those golden bits and bobs coalesce and fan out, eventually taking over the texture nearly enough to eclipse the all-pervasive groove in layers of delayed distortion. Is that thin percussive sound center stage some kind of dulcimer?

And there it is, shining right out of that spectacular center, that jewel at the heart of whatever it is that makes each Jandek album, no matter what the instrumentation, part of a singularly fascinating whole. Yes, it would be tempting to posit that the European jewel of the Corwood rep’s early days has found its larger context on this new album, but that’s only a part of the story. Jandek is a space for development that never falls into line. Was that really a major chord? It might not have needed to be, and maybe it’s only a point of reference to those desiring one. The Rep’s work opens possibilities rather than defining them. We are given the vision of the jewels rather than the jewels themselves, as the vision of a teenage daughter at a certain time of day opened Ready for the House all those years ago. Each note, chord and phrase on a Jandek album speaks to the joy of its creation. They bristle with energy of all sorts, emotion and affect in juxtapositions similar to the timbral histories they contain. Beyond all points of reference is the feeling. The character in the rep’s book, The Rays of Light that did Not Illumine, wants to feel, and like his music, the substance of what is felt becomes subservient to the experience, which remains fresh and vital.

Marc Medwin

[iamthecomet]

Hi Comet! Thank you thank you thank you for the prompt. I got another one yesterday and will probably give it a go soon. But now for something completely different; headcanons! The last fic made me think, what is good sleeping music according to the other ghouls? - Ghoulette Anon

Ghoul sleeping music coming right up. I'm absolutely going to go too deep into this and I am NOT sorry about it. Rain: As previously discussed, a sort of unexpected sleep music habits. Nine Inch Nails usually does it. There is something soothing about the slow steady drone of their specific brand of industrial. Tool also will put him under pretty quickly. Cumulus: Loves trippy, dreamy music to fall asleep to. Still likes it to be a little gritty, not too soft. Likes trip-hop and some lo-fi. She always drifts off really quickly to bands like Sneaker Pimps and Portishead specifically. Cirrus: Likes slow, building, instrumentals. A fan of most shoegaze as well. Likes to be rocked to sleep by music. She likes songs that ebb and flow, that feel like falling asleep in a building storm. The band Mogwai is her favorite to drift off to. Sunshine: Weirdly, falls asleep really well to folk metal. She can close her eyes and craft a story around the music. Shes drifts off to tales of old gods and wars and myth. Especially likes bands with "different" instruments (accordions, flutes, hurdy gurdys, fiddles). She can craft grand adventures in her head to them, and that makes her slip off to sleep very quickly. Her favorites are: Eluveitie, Turisas, and Korpiklaani. Dew: A real sucker for all things slow and moody when he's trying to sleep. So doom metal is usually his go to. He usually opts for the darker moodier tracks. There is something soothing about the slow drone of them. He really likes Paradise Lost and Draconian. Aether: Loves prog. Loves the way it all flows together. It's so easy to get lost in. He likes the way things change, how songs shift together. It feels dreamlike already in a way, it's easy to just let go and listen to it. His favorites are OSI and Opeth. And occasionally he will listen to full Between the Buried and Me albums, it doesn't matter that they're heavy--they flow so well together that they have the desired effect despite the death metal aspect. Mountain: Mountain can't fall asleep to music. He likes to listen to music, to pay attention to it. So instead, when he's trying to sleep he listens to podcasts. He used to listen to educational ones he actually cared about, but then he got upset when he missed parts of them. Now he listens to more low-key podcasts. Welcome to Nightvale and Lore are two of his favorites. Swiss: Likes classic emo. Not Fall Out Boy, Panic at the Disco emo, "real" emo. A little angry. A little smooth. A little dreamy and weird. There is something about it that calms him. He likes the rise and fall of them. The grit in the vocals. His favorite to drift off to is Cursive.

[masquayla-the-splendid]

It seems a chain reaction of reblogs have drawn in a hoard of Ennard enjoyers. Yall heard Tynado's Ennard song???? It's very rare that I find songs that actually fit his character well, and aren't just "oOoG I'm a BiG scArY RobOt ComIn to GetCha wjbbw LORE!"

Needless to say it's lyrically #3 of "best Ennard centric songs," #2 being "Every Body" By Rockit Gaming, and #1 being "My Ennard" by Groundbreaking. Instrumental wise, Rockit Gaming almost has it, but it's a little repetitive, and the vocals aren't cutting it for me.

Tynado's instrumental has a lot of reverb, and is very reliant on the vocals. To me, the type of instruments that fit Ennard best are super gritty synths that only a blast proccesed FM chip could produce. Not only would it be fitting because of the industrial techy sounds, but they're found in arcade cabinets and Genesis/Megadrives, which would fit the window of time SL takes place.

Here's a sample of my reconstruction of a banger:

From what I compared, the bell chords in the bridge (beginning of the video) gave it an extra mood. I also ripped a lot of instruments from fire themed levels, because Help Wanted. Even figured out how to make the low bell sound used in SL/UCN. Adds a lot more personality to it.

Takaway, Instruments hold as much character as the writing.

[werebutch]

@eucyon Oh my god tumblr ate your ask I’m so lucky I screenshotted. So mad I have to type again . Thank you so much for dis question it’s so fun and made me really think to be honest ^__^ ILYSMMMM this is long but it’s too fun

This is Lynx’s most popular album, Conspiracy Theories. I couldn’t pass up the opportunity to have a pic of lynx as the cover even if it’s silly. I really like rabbit imagery in music anyways though so I think it’s nice. I was inspired by Alice In Chains album covers and also fleshwater’s ‘we’re not here to be loved’. I tried to find a way to make it more 'gritty' but I couldn’t unfortunately 😭 I like how the title looks, like they just got a label maker and smacked it on..heheh

I imagine that this album is about relationship anxiety, betrayal, resentment, anti social tendencies, infidelity, and aliens. Probably not little green men, maybe more like the thing kind of fleshy imagery. Definitely appealing to atlas and scotch in different ways. Tool’s Undertow is a good example (off the top of my head..) of the sound I’m thinking of, so… prog? Or at least heavily inspired. I’m bad with genres heheh

im currently trying to either become okay with roadkill's name, or decide on a new one.. so im not making any album covers for them yet lol but i will post when i do..

I think roadkill would take a lot of inspo from their fave band so their style is probably heavily influenced by Lynx. Scotch adds a lot of sampling, distortion, whatever..idk I don’t make music.. and atlas is a big fan of slow tempo and bass. think its important to note that atlas doesnt play bass like a bassist in this album, he plays it more like a guitarist. kind of. hope that makes sense. I’ve always been really torn about roadkill’s genre, it’s been everywhere and tends to change. scotch and atlas’ styles would be vastly different if they were solo, so I think that’s why i am so indecisive . I think I just have to keep reminding myself that they’re in a band together, so styles would be mixed.

A part of me is like.. I think roadkill’s first album would be reminiscent of faith no more’s ‘the real thing’, or even some of Primus' stuff in some sense, plus similarities to Lynx and influences of industrial. i know thats a lot of random descriptions. I kinda think of (here’s a goofy genre for ya) sludge metal bands’ instrumental style, not necessarily vocal style... its hard to describe a band that doesnt exist. LMFAO

right now im thinking about 'the pot' by tool as a close example of roadkill.. im having a hard time finding artists that match scotch's vocal range even remotely. also doesnt help that the bands im basing this off of like tool and FNM dont exactly...fit into genres very neatly. roadkill and lynx wouldnt either. HAH. i just know it wouldnt be that high quality but definitely obvious theres a lot of passion in it. i mean this is just an album made by guys who dontknow what theyre doing. like at all. lol

Roadkill’s sound changes quite a bit their next album when seraph is involved. It becomes a lot more ummmm I guess palatable to more people? I don’t exactly know what I mean by that. Ok. LOL. I’ll think about it.. but this is around when Scotch realizes he wants this to be his job. Having Seraph helps A LOT with building a more dedicated and bigger audience, since they’re the one most willing to make changes. Plus they’re in art school, I feel like they’d have connections. So I guess roadkill would sell out in a way.

if you asked me this question a year ago i would have had a completely different answer. i wouldve probably said roadkill is pop punk or garage rock or something. i have trouble fitting scotch and atlas into a genre together. it fits scotch just fine and i think he would enjoy it, but its not roadkill.. also ive been thinking of stylizing roadkill as rdkill.. lmk wat u think.. im unsure about the name is generalHAHA. i know this is a lot so dont feel pressured to reply to everything LMAO im just thinking out loud. and drawing connections between genres that completely do not make sense. peace and LOVE<3

[jch3ss3cak3]

Guys I made chat GPT make a fan song from mouthwashing. After multiple tries here's what I got (Will post updates)

"Wreckage of the Tulpar"

(Fan song inspired by Mouthwashing by Wrong Organ)

Verse 1

The Tulpar lies broken, drifting in space,

Five souls abandoned, each hiding disgrace.

Jimmy, the captain, took charge through the pain,

Blaming Curly’s silence for the crash and the strain.

Chorus

Lost in the void, trapped in despair,

Secrets unravel, but no one’s there.

Bound to the silence, haunted cries,

In the wreckage of Tulpar, each of them dies.

Verse 2

Anya clings to secrets, shame and regret,

Hides in the med bay, her last silhouette.

Swansea stands guard with a fire axe drawn,

Protecting Daisuke, who won’t see dawn.

Chorus

Lost in the void, trapped in despair,

Secrets unravel, but no one’s there.

Bound to the silence, haunted cries,

In the wreckage of Tulpar, each of them dies.

Verse 3

Daisuke crawls, wounded and frail,

Lost in the vents, his hope gone stale.

Swansea can’t save him, the axe falls fast,

A mercy in darkness, his loyalty’s last.

Bridge

Flashbacks reveal what twisted this fate,

Anya’s confession, Jimmy’s hate.

Layoffs and ruin, a death wish concealed,

The truth of the crash, slowly revealed.

Chorus

Lost in the void, trapped in despair,

Secrets unravel, but no one’s there.

Bound to the silence, haunted cries,

In the wreckage of Tulpar, each of them dies.

Outro

Jimmy throws one last birthday for ghosts,

With their hollow faces, he toasts.

He feeds Curly flesh and cries in despair,

Then takes his own life, a twisted prayer.

As Curly drifts off in a frozen state,

The Tulpar sails on, bound by fate.

Ghosts in the hull, no peace to find,

In the void, they’re lost, out of time.

Instruments it suggested

To match the dark, psychological horror feel of Mouthwashing, a mix of eerie, atmospheric, and gritty instruments could really capture the tension and descent into madness. Here’s a breakdown of what might fit:

1. Electric Guitar (Distorted & Reverb-heavy):

A distorted, gritty electric guitar would add tension and a raw, industrial feel. Adding reverb and maybe even feedback in certain parts would create a sense of isolation and madness.

2. Synths and Pads (Dark Ambient):

Atmospheric synth pads can add a haunting, spacey backdrop, filling in the empty “void” of space. Low, pulsating drones would add an unsettling foundation beneath each verse and chorus.

3. Bass Guitar (Distorted & Heavy):

A heavy, distorted bass guitar could underscore the tension, especially during choruses. It should have a slow, rumbling feel, like a heartbeat, building suspense and dread.

4. Drums (Low, Minimalistic):

The drums should be sparse, with an emphasis on deep, reverberating toms and a slow, heavy beat. Keeping cymbals subtle (or even absent in parts) could add a sense of doom, with more impact on beats like a pulse or heartbeat.

5. Creepy Sound Effects (Distant Metallic Clangs, Airy Sounds):

Adding metallic sounds, like clanging metal or scraping, could give the feeling of being trapped in a confined space. These effects can act as background elements, creating dissonance to heighten the atmosphere.

6. Electric Violin/Cello (Dissonant, Moaning):

An electric violin or cello playing dissonant, bending notes would add to the eerie, despairing feel, almost like wailing. These instruments could emphasize the emotional toll of the situation, especially in instrumental breaks.

7. Low Choir Vocals or Dark Vocals (Layered & Haunting):

A low choir or ghostly vocal effects (low and airy) would emphasize the psychological breakdown and despair. These could be added in the background, almost like distant voices or murmurs, enhancing the supernatural vibe.

8. Piano (Soft, Minor Key, Dissonant):

Together, these elements could make the song feel haunting, claustrophobic, and full of dread, perfectly matching the dark themes of Mouthwashing. Let me know if you want any instrument focus shifted for a different feel!

A soft, echoing piano could be used in the verses to build tension, playing sparse, dissonant notes or chords to echo a sense of solitude.

[readwithnox]

7 LGBTQ+ Indie Books Releasing During Pride Month

Looking for some new books to celebrate? Check these out!

Paragon Seven

by Phoenix Ning

The gritty setting and angsty sapphic relationship of ARCANE meets the ensemble cast and discussions of power in THE ATLAS SIX where seven queer people of color with superpowers work together to overthrow an oligarchy in a federation of four sectors.

Twenty-two-year-old Mu Lanying is one kill shy from graduating as Skyleen Military Academy’s next valedictorian. After that, she will be crowned as the Laurel Scholar in a private ceremony held in the Chancellor’s Office. Within the Office lies a restricted archive that holds the truth to her mother’s death — an enigma that has haunted her for the past six years. But when Lanying is tasked with executing a revolutionary called Marigold, she fails the mission.

Twenty-four-year-old Lee Chaewon is no stranger to threats. In the past seven years, she had been a triple threat in the entertainment industry and a threat to the Skyleen Administration as a member of the insurgent quartet called Blossom Four. But now, the only threat haunting her is the lack of funds needed to treat her older sister’s terminal illness. When Marigold offers to cover the remaining cost of her sister’s chemotherapy in exchange for a favor, Chaewon takes the money and agrees to assassinate the upcoming Laurel Scholar.

During the Academy’s Commencement Parade, Lanying gains access to the restricted archive where she learns that her mother was executed for posing as the Chancellor’s mistress while spying on his inner circle. On top of that, her mother had passed on classified information to a network of rebels including Chaewon’s father, and the Administration is still hunting for surviving insurgents. When Chaewon fails to assassinate Lanying, the former learns that her father had also died under the Chancellor’s order. Enraged, the pair set out to locate surviving rebels in hopes of recovering the information that is worth killing for. The girls eventually find themselves leading a coup d’etat with five other people that will either end in bloodshed or usher in a new age.

Releasing June 1st, 2023—LGBTQ+ Fantasy

Add it on Goodreads

By Your Side: A Queerplatonic Short Story

By Margherita Scialla

Emma’s relationship ends abruptly when she comes across her boyfriend cheating on her at a party. Yet another failed relationship brings her repressed platonic feelings for one of her best friends to the surface once more.

Emma’s scared to voice her worries and desires, but even if she manages to bring up how she feels, how will Noah react to such a revelation?

Releasing June 6th, 2023 — Young Adult LGBTQ+ Fiction

Add it on Goodreads • Get it on Amazon

Trick

By Cara Nox

Cassandra Clare’s The Mortal Instruments series meets V.E. Schwab’s The Invisible Life of Addie LaRue with a dash of Disney+’s Loki in this new adult urban fantasy.

WELCOME TO NEW ATLAS: A CITY WITHIN A REALITY JUST BEYOND OUR OWN.

Evie is a nobody. Spending her days in college classes and her nights studying, having a social life has never really been a priority. With her sights firmly set on the future to keep away her thoughts of the past, she loses her grip on the present when her world is ripped out from under her. And it’s all thanks to two mysterious strangers showing up on her doorstep, claiming that she can turn back time.

Cade is a notorious troublemaker. He’s never been afraid to throw around his name to get what he wants as someone who’s clawed his way to the top. But power is quick to change hands in this city, and when he chooses to blatantly disregard an order from his leader, his older brother, he’s tossed back down to the bottom again. He’ll be more than lucky to regain any sort of trust when everyone knows he’s one of the best spies there is, sliding in and out of shadows in the blink of an eye.

Ren is a bored teenager. Always labeled as the “golden child” or “gifted student,” he finds himself writing down cryptic messages and following strange leads, rather than putting on the same old song and dance for his family. Especially once he discovers his little stolen fragments of the future are starting to take a darker turn. Perhaps chasing the life everyone wants him to have isn’t necessarily in the cards for him, but there’s only one way to find out.

So when someone within the secret society known as the Custodians targets Evie for her power, the clock starts in the final sprint to hunt down the culprit. In order to uncover whatever hidden clues are lurking in the past, the three of them have no choice but to peel back the layers of obscurity built up between their factions to figure out why she’s being hunted and how they might be able to fix their bleak futures before it’s too late.

Just remember: time is nothing but a trick.

Releasing June 13th, 2023 — New Adult LGBTQ+ Urban Fantasy

Add it on Goodreads • Get it on Amazon

Scars & Secrets (Shield & Sorrow, Book #2)

by J.E. Ridge

Saving the kingdom was only the beginning …

Kings Archer and Silas successfully thwarted the plot to take over Arnsveld and Bellacosta. Now they’re struggling to maintain their tenuous relationship amidst dissenting soldiers, scheming nobles, and the trial of the century.

Valerian’s job is to neutralize the mage behind the plot without getting tangled in his sinister web. When Penn finds himself at the mercy of traitors, Valerian abandons everything to help him. Love and magic prove to be a deadly combination.

Releasing June 20th, 2023—LGBTQ+ Romantic Fantasy

Add it on Goodreads • Get it on Amazon

Hymn of Memory

By S. Jean

As the Divine of Blackburn, Morgan sends its departed souls into the afterlife. It’s a sacred job spanning generations of Divines before him, but there’s a problem: the process invites the dead’s memories inside and those memories quickly erode and erase his own. Before long, he fears he will completely lose who he is and no one seems to care.

Then Fin, a familiar face from town, sneaks into Morgan’s room to beg for a resending of his grandmother and Morgan quickly agrees, knowing it means an opportunity to escape.

As escape quickly turns into a road trip with Fin to replace the memories he’s lost, Morgan has to confront what it means if he never returns. Without him to send souls, they die completely, leaving a void in the world where nothing will live or grow. Returning, however, means he will lose himself.

And so, Morgan must decide if never returning and living his life as himself — not the Divine — is worth more than the souls he’s leaving behind.

Releasing June 27th, 2023 — Young Adult LGBTQ+ Contemporary Fantasy

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Of Knights and Books and Falling in Love

by Rita A. Rubin

A slice-of-life fantasy, perfect for fans of Legends & Lattes and Howl’s Moving Castle.

Jayce has little memory of life before entering servitude to the Dark Lord, and no hope of ever escaping. Until he meets Alexius, the knight with a heart of gold. He offers Jayce, his enemy, a chance to break free of the Dark Lord’s clutches, and Jayce is not about to let such an opportunity pass.

When the war comes to an end, Jayce finds himself finally free, with Alexius’s help, and surrounded by a new world of opportunity. And the prospect of a new love. The more time Jayce spends with Alexius, the more he finds himself falling for this knight in shining armour.

Releasing June 29th, 2023 — New Adult LGBTQ+ Romantic Fantasy

Add it on Goodreads

Unpainted

By Dan Fitzgerald

In the hermetic society of the Painted Faces, pale, unblemished skin is rewarded with station, wealth, and power.

Tera would almost rather go unpainted than enter into an arranged marriage with a total stranger, but that would mean giving up the only life she’s ever known. Not to mention her share of her family’s Pureline fortune.

She’s always thought love was a fairy tale and sex a joyless chore, but the alternative might be worse.

Enter Aven, a soft buttercup of a man, the kindest and most considerate person she’s ever met. A tropical honeymoon awaits, and with the help of her intimacy consultant, Tera is determined to make the best of this awkward ritual. Amid the island breezes, she and her new spouse form a bond neither of them knew they were capable of.

But trouble stirs beneath the polite veneer of the Painted Faces’ society, threatening to tear them — and their entire world — apart.

Releasing June 30th, 2023 — LGBTQ+ Fantasy Romance

Add it on Goodreads

Disclaimer: anything purchased through the links provided in this article helps me continue writing with compensation through Amazon’s affiliate program.

[soundsgf]

Soundscapes with Cutting-Edge Percussion Download

Prepare to embark on a sonic journey like no other with Keepforest – Ferrum, an innovative virtual instrument designed to push the boundaries of industrial percussion. Dive into a realm of metallic textures, rhythmic pulses, and dystopian atmospheres as you harness the power of Ferrum to craft intense soundscapes and epic musical compositions.

Keepforest – Ferrum Download

Keepforest has meticulously curated Ferrum to serve as the ultimate toolkit for composers, sound designers, and producers seeking to infuse their projects with the gritty allure of industrial sound. Drawing inspiration from the mechanical landscapes of science fiction and the visceral energy of modern dystopias, Ferrum offers a diverse array of meticulously sampled percussion instruments that capture the essence of raw, industrial power.From thunderous anvils and reverberating metal clangs to relentless drum rhythms and pulsating loops, Ferrum delivers a level of realism and depth that will captivate your audience and elevate your compositions to new heights. Each sound is meticulously crafted to evoke the atmospheric intensity and haunting beauty of industrial machinery, ensuring that every note resonates with authenticity and impact.

[osharenippon]

'70s Japan Trends Through the Music Charts (Part 4)

During the 1970s, the Japanese music industry was in the process of forming its identity. In addition to mirroring the musical preferences of the nation, the charts also served as a reflection of the prevailing societal trends and ambitions of that era. In this series, we chronicle the most significant musical trends of the decade.

'70s Japan Trends Through the Music Charts (Part 1)

’70s Japan Trend Through the Music Charts (Part 2)

70s Japan Trends Through the Music Charts (Part 3)

Trend #10: Yazawa, Okura, Carol, and the Origins of Japanese Rock 'n' Roll

The US occupation of Japan ushered in a wave of Western exports to the archipelago, among them one of the most celebrated music genres: rock 'n' roll. 

Initially, the domestic itineration of the style could only produce fleeting fads like the rockabilly boom of the 50s and the "group sound" band phenomenon in the 60s. But, by the 70s, rock music had transformed all established genres. There were enka rock bands, such as DOWNTOWN BOOGIE WOOGIE BAND. Its leading man, Ryudo Uzaki, was a prolific composer, adding tinges of rock to the kayokyoku sung by fresh-faced idols like Momoe Yamaguchi. Kenji Sawada, the former vocalist of group sound band The Tigers, technically considered an "idol" back then, carried himself like a true rockstar. And, of course, the trendiest style was folk, which, inspired by US folk rock, launched multiple singer/songwriters to stardom.

While Japanese rock was everywhere, it was also nowhere. The concept of "local rock" was nonexistent at the beginning of the decade. The prevailing belief was that the Japanese language and pronunciation couldn't synchronize with the rhythms of rock music, making it impossible for a domestic version of the genre to thrive. However, this notion was upended in 1972 when Japan's first true rockstar, Eikichi Yazawa, emerged.

Yazawa's journey began in post-atomic Hiroshima. Raised in poverty by his paternal grandmother after his mother abandoned him and his father died of a radiation-related illness, Yazawa found solace in Western music heard on the radio. A fervent Beatles fan, he was inspired to pursue a career in music after going to a live concert by The Ventures, another popular foreign rock band, in his hometown. In 1968, immediately after graduating high school, he embarked on a journey to Tokyo, hoping to make a name for himself as a musician. But he was feeling pain in his buttocks from sitting for too long, so he decided to get off in Yokohama, encouraged by the fact that it was a port city, just like Liverpool.

In Yokohama, Yazawa had his solo demos rejected by all the major labels. Determined to pursue his rockstar dream, he formed a band called YAMATO, which gained some popularity playing at various night venues in the area. However, YAMATO disbanded in 1971 as its members went their separate ways. Undeterred, Yazawa continued his quest for rock stardom and held auditions for a new band, "Carol."

Carol was founded by Yazawa, who served as its vocalist, bass player, and composer. But he found a kindred creative spirit in Johnny Okura, their guitarist and lyricist, who was instrumental in shaping the band's identity. Okura conceptualized Carol's style, drawing inspiration from The Beatles during their early days in Hamburg when they played '50s rock in gritty German clubs. He also played a significant role in crafting their distinctive image, with members donning edgy leather jackets reminiscent of bikers and sporting pompadour hairstyles. Their unique aesthetic and sound quickly set them apart in the Tokyo live music scene.

Despite being a key creative force, Okura's erratic behavior and lifestyle sometimes posed challenges. When Carol booked their first shows, Okura was hospitalized in a psychiatric hospital, rendering him unreachable. In contrast, Yazawa's professionalism, meticulous management, and unwavering ambition held the band together. He took charge of negotiations for concert fees and organized their schedules.

While "real musicians," like folk stars, rejected invitations from TV stations, Yazawa recognized the medium's power and believed securing a TV slot could propel the band to stardom. But it was Okura who identified the perfect opportunity when Fuji TV's youth-oriented show "Live Young" issued a call for "Roxy fashion performers."

Airing on Saturdays, "Live Young" functioned as a televised version of the influential magazine Heibon Punch, spotlighting fashion and music trends appealing to young adults. "Roxy fashion," which was all the rage in London then, was inspired by the glam British rock band Roxy Music. Like Carol, the Bryan Ferry-led band featured visual elements reminiscent of '50s fashion, but the show's staff was uninterested and ignored their submission.

In response, an indignant Yazawa contacted the producers, arguing that excluding Carol, a band heavily influenced by the Roxy fashion, was a grave oversight. This assertion was a bluff; the visual resemblance was unintentional, but it worked. On October 8, 1972, Carol appeared on the Roxy fashion episode, captivating the audience with their leather jackets, pompadour hairstyles, and renditions of classic rock hits like "Johnny B. Goode" and "Good Old Rock 'n' Roll." Their appearance generated significant buzz, leading to a major label signing them just three days later.

While Carol's breakthrough was in a program linked to Heibon Punch magazine, a rival publication, Weekly Playboy, became a crucial ally in promoting the band. Weekly Playboy targeted young men, much like Heibon Punch. Still, it appealed more to working-class youth, fostering a dynamic that Shueisha, the publisher, would later replicate with other titles (AnAn's rival, Non-no, which, like Weekly Playboy, would quickly eclipse its competitor's sales). With their leather-clad appearance, extravagant hairstyles, and motorcycles, Yazawa and his bandmates resonated strongly with the magazine's readership. Consequently, editors frequently featured the band and their striking "yankee" style.

Carol's sound had a historical impact on Japanese rock music, while its aesthetic changed local fashion and fueled the "yankee" sub-culture that would take over the country in the following decade.

In Japanese culture, "yankee" is a term commonly associated with delinquent youth and their distinctive appearance. While the word remains in use, its cultural significance reached its zenith in the 1980s when teenage motorcycle gangs took over the country, revolutionizing youth culture. However, in the early 1970s, a decade before getting hold of the nation, Carol's popularity contributed significantly to the rise of the "yankee" style.

The band wasn't alone in popularizing the 50s biker/rocker aesthetic. Some Tokyo fashionistas gravitated to the trend due to the Roxy fashion movement in London. Meanwhile, in schools around the country, teen rebels were multiplying. It was a perfect storm for the "yankee" style surge, cemented by Carol's emergence into the mainstream. The band's dynamic presence and unique appeal made Yazawa and his bandmates role models for the emerging youth culture tribe.

Bosozoku ("running-out-of-control") -- gangs of teenagers with little regard for laws, who'd run around provincial Japan in their customized motorcycles -- adopted Eikichi Yazawa as their ultimate god. They'd often escort Carol band members to their concerts. 

But the bond between blue-collar young people and Yazawa was a natural development as Carol's leading man truly represented something unique to Japan up to that point, a working-class rock 'n' roll icon. His superstar aura yielded excellent results for the band, quickly attracting tens of thousands to their live concerts.

Band members frequently smoked and drank on stage, creating an electrifying environment. Fights and disturbances sometimes erupted during their shows, eventually leading city halls to decline to host their concerts due to fears of property damage. Paradoxically, that pulsating, feral energy was precisely what made their shows such a hot ticket. Soon, influential cultural figures started attending their performances, like the famed photographer Kishin Shinoyama; fashion designer Kansai Yamamoto, who'd invite Carol to perform at one of his Paris fashion shows; and Masayuki Yamazaki, a pioneer of Yankee fashion and Harajuku fashion and nightlife icon.

Weekly Playboy was crucial in turning Carol's members into fashion icons and leaders of millions of young men. Above, the 8/21/1970 issue, which opened with a fold-out of the band's most popular members, Eikichi Yazawa and Johnny Okura.

In February 1973, another influential figure, Jin Tatsumura, attended one of these concerts. At the time, Tatsumura, a 33-year-old NHK director from a high-society background, wasn't the band's primary audience, but he found himself captivated by the energy and fervor of the performance. Given his role overseeing NHK's documentary content, Tatsumura left the live show with an overwhelming desire to create a special documentary about the band for the national broadcaster. He believed the culture surrounding Carol perfectly encapsulated a new type of post-war youth movement.

Tatsumura poured his heart and soul into creating the Carol documentary, making it his passion project. By July, he had completed production with plans to broadcast it in prime time at the end of the month. However, to his astonishment, when the day arrived, only a nine-minute edited version of his work was aired. NHK's higher-ups deemed the debauchery and rebellious behavior associated with the band unsuitable for the public network's clean and wholesome image.

This left Tatsumura furious. Not only did he initiate legal proceedings against NHK, but he also decided to release his censored documentary in cinemas. Consequently, the public broadcaster terminated his employment and banned Carol from its airwaves. For a band well aware of the media's promotional power, being banned from the country's most influential network could have been detrimental. However, it only enhanced their status as anti-establishment icons, further fueling their popularity.

While Carol left an indelible mark on fashion and youth culture, their most significant musical legacy was proving once and for all that Japanese rock music could thrive.

Until then, Japanese song composition adhered to a rigid formula, with lyrics expected to resemble Japanese poetry. This meant sticking to a specific syllable count that dictated the song's rhythmic structure, in contrast to the more free-flowing lyrics of Western music. Moreover, many believed that the phonetics and structure of the Japanese language couldn't synchronize with the rhythm of rock.

Yazawa and Okura never wasted any time in that debate. They just went ahead and recorded their rock tunes in Japanese. And the public loved it. No one could dispute that they were rock stars playing rock music, so the debate on the viability of local rock was buried once and for all. 

It wasn't just the sound, of course. Carol had to sell an image and lifestyle convincingly to break misconceptions about being genuine rockers. Yazawa's professionalism, panache, and life story – akin to the "American dream" mythology of a working-class young man coming from nowhere and achieving his ultimate dream – helped them achieve this. Still, to become the first commercially successful Japanese rockers, Yazawa and co. had to introduce some stylistic innovations to local music.

Their television debut captured the hearts of the masses as they performed English-language rock classics like "Johnny B. Goode." Since these songs were relatively unknown in Japan, many assumed they were original compositions, especially since one of the band members was also named Johnny. The electrifying segment generated immense excitement, leading the Nippon Phonogram/Phillips label to sign them and launch an aggressive marketing campaign. Starting in December, less than two months after their Fuji TV debut, Carol released singles every month.

Their debut single, "Louisiana," originally featured English lyrics by Johnny Okura. However, at the last minute, the label requested a switch to Japanese, believing it would be more commercially viable. At that point, Okura and Yazawa devised a unique lyric-writing method. Rather than striving for cohesion, they crafted lyrics that freely matched the rhythm, peppering them with sporadic English phrases like "oh yeah" and "oh baby." This unconventional approach struck a chord, as "Louisiana" became a hit, solidifying the presence of Japanese-language rock.

Yazawa also adopted a distinctive singing style called the "rolling tongue" method. This involved singing in Japanese but with an American accent. For example, instead of pronouncing a sentence like "ore no kanojyo" with proper Japanese pronunciation, he rendered it in the style of an American English phrase: "orrei nou kanoujyou."

These innovations were warmly embraced by the public. In particular, with their seventh single, "Funky Monkey Baby," achieved monumental success and became a timeless Japanese rock classic.

At the outset of 1975, despite their tremendous success, the members of Carol found themselves at odds and decided to part ways. Their farewell concert at the Hibiya Open Air Concert Hall drew 7,000 fans, doubling the venue's 3,000-person capacity. Several months later, TBS broadcast the live performance as a special episode of their popular variety show, "Ginza Now!" Staying true to Carol's style, fireworks intended for special effects accidentally ignited due to rain, resulting in the band's illuminated sign burning down and collapsing. This unscripted moment only added to the event's legendary status.

Following the band's breakup, attention turned to the songwriting duo of Okura and Yazawa, often compared to Lennon and McCartney. Although their creative synergy was evident, their clashing personalities ensured they would never reunite.

Okura, with his free-spirited mindset and erratic behavior, including a struggle with drug addiction and the revelation in 1975 that he was a "zainichi" (a Japanese-born Korean, Japan's most prominent ethnic minority, frequently subject to racism and prejudice), couldn't assimilate into Japan's conservative, buttoned-up showbiz scene. In the 1980s, he succeeded as an actor, winning a Japan Academy Award and receiving prestigious offers, including an invitation to participate in NHK's historical drama. However, an incident in 1987, in which he fell from the balcony of his seventh-floor hotel room, derailed his career, pushing him off the mainstream radar and into the underground scene, where perhaps he felt more comfortable. Okura passed away in 2014 at the age of 69.

In contrast, Yazawa embarked on a different path. With his striking good looks, remarkable style, talent, and legendary work ethic, he emerged as one of Japan's most prominent artists, with his solo career overshadowing the success of the band that propelled him to stardom. At first, however, his solo career faced significant hurdles.

Ever the consummate professional, Yazawa worked behind the scenes to ensure a seamless transition to a solo career. He signed a contract with Sony/CBS, borrowing funds from the label to extricate himself from his previous Phillips deal. He allocated all his Carol royalties to spend several months on the West Coast of the United States, recording his new album. However, upon returning to Japan to launch his new phase as a solo artist, he struggled to connect with his audience. The public yearned for more of Carol, not a solo Eikichi Yazawa. His concert tickets didn't sell, and his new music failed to resonate.

Eikichi Yazawa, from one of the minds behind Carol to a legendary solo act.

Despite the negative chatter, Yazawa remained steadfast in his belief that the public would eventually embrace him as a solo artist with a different, more ballad-oriented rock sound and style. He held live concerts to cultivate loyalty, and his determination paid off. By the end of July 1976, his Hibiya Open Air concert attracted 7,000 attendees, a turnout similar to Carol's farewell show.

The subsequent year saw him embark on an extensive tour, becoming the first local rock soloist to grace the stage at the Budokan. His single "Jikan yo tomare" (Stop Time) was chosen as the soundtrack of Shiseido commercials, at a time when cosmetics commercials had huge influence. It quickly became a million-seller. By March 1978, the demand for his live shows had grown so much that he performed at Japan's largest venue, the Korakuen Stadium. In July of the same year, he further solidified his legendary status by releasing his autobiography, "Nariagari," recounting his journey from rags to riches. The book became a cultural phenomenon and a touchstone for an entire generation, surpassing two million copies in sales. It also shaped Yazawa's public image.

By the 1980s, Yazawa had become Japan's highest-paid musician. As the rock genre flourished throughout the decade, he attained universal recognition in the country as the king of rock. From 1983 onwards and continuing into the present, he consistently hosts sold-out nationwide tours.

Despite his immense success, the rock icon encountered personal crisis, most notably in 1998 when a business partner deceived him, siphoning off nearly $30 million in Australian dollars by obtaining loans in his name, leaving him burdened with substantial debts. It took him over a decade, but he ultimately managed to repay all the money to the banks. "I can get big loans again," he cheerfully announced in the mid-2000s when he built a five-story studio in a prime location in Akasaka, a central Tokyo neighborhood.

1978 was the year Eikichi Yazawa solidified himself as Japan's top star. In January, he released the million-selling single "Jikan yo tomare," which was used in Shiseido's commercials and became one of his trademark songs (Ryuichi Sakamoto played the keyboard in the song). His fourth and best-selling studio album, "Golden Rush," came out in June, followed, in the next month, by his epoch-making best-selling autobiography, "Narigari," which would ignite a social phenomenon. In August, he became the first rock soloist to perform at the Korakuen Stadium in Tokyo.

Notwithstanding the embezzlement case, Yazawa is known for his business acumen. Since Carol's dissolution, he secured publishing rights for his work and gained control over his merchandise, a rare feat in Japanese show business. In 2008, he took a bold step by establishing his independent recording company to release his work. While numerous Japanese recording artists had previously explored the independent route, notably the folk superstars of the 1970s with their "For Life" venture, Yazawa stood as the singular success story in this endeavor.

With his records still debuting at the top of the charts, Yazawa held a stadium tour in 2022. Alongside Kenji Sawada, he is the only male soloist from the 70s capable of attracting such large crowds. If, in the mid-70s, his band terrorized NHK's higher-ups, the public network celebrated his career's 60th anniversary in 2022 with a series of primetime TV specials.

This is the unparalleled force of rock 'n' roll. Or, at the very least, it is the unprecedented force of Eikiichi Yazawa, the one who first gave the masses a taste of the rock lifestyle.

Trend #11: I Love Rock 'n' Roll

The success of Carol in the early 1970s definitively ended the question of whether Japanese rock could thrive. As the decade drew to a close, major record labels began reaping significant profits from the genre. In 1979, the progressive rock band Godiego emerged as the top-selling act of the year, surpassing idols, enka, and folk stars. However, their ascent to the top of the music charts was not due to any groundbreaking innovation. Instead, they relied on a very effective J-entertainment technique: commercial partnerships and tie-ins.

After signing Godiego in 1977, the Nippon Columbia label did not spare money for the band's promotion. Their debut single served as the soundtrack for Kanebo's cosmetics commercials, and subsequently, all their songs were chosen as themes for various TV shows and movies. However, the actual turning point came when their 7th and 8th single, "Gandhara" and "Monkey Magic," were featured as the closing and opening songs, respectively, for the top-rated NTV historical comic drama "Saiyuki" ("Journey to the West," also known internationally as "Monkey"). Riding on the coattails of the show's success, both songs became massive hits, catapulting Godiego to the forefront of the music scene.

After two years of Pink Lady's hip-thrusting disco idol pop domination, local audiences recognized a rock band at the top of the charts as a refreshing change. Their follow-up single, "Beautiful Name," was used as a UNICEF charity song, giving them another hit. Their fortune continued with the highly coveted opportunity to provide the theme for the animated "Galaxy Express 999" movie, based on Leiji Yamamoto's sci-fi manga.

Five years earlier, a TV anime adaptation of Yamamoto's seminal work, "Spaceship Battle Yamamoto," had been among the first Japanese animated works to achieve immense popularity, captivating children, teenagers, and adults alike. Its success laid the foundation for Japan's burgeoning "otaku" industry. Consequently, expectations ran high in 1979 for the big-screen anime remake of another of Matsumoto's works. By performing the movie's theme song, Godiego was assured of another hit. 

By the end of 1979, the progressive rock band had secured the best-selling album and claimed four of that year's 30 top-selling singles.

Tie-in with successful TV shows, anime, and UNICEF made the progressive rock band Godiego into the biggest act of 1979.

While good marketing can give you a great year of sales, it doesn't guarantee a prominent position in history books. Achievements based on good tie-ups and marketing are inherently ephemeral, in contrast, for example, to Carol's pivotal role in mainstreaming Japanese-language rock. As expected, the following year saw the local public's attention shift to other trendy acts, causing Godiego to quickly turn into a relic of the past.

But in the year Godiego reigned supreme, a few positions down from them, another band also had a terrific year. With their sophomore album, "10 Numbers Karatto," Southern All Stars had the third top-selling album of 1979. Their single, "Itoshi no Erii" (My Dear Elie), also performed impressively on the singles charts. Although their numbers didn't quite match Godiego's, they would ultimately have the last laugh, establishing themselves as the country's most thriving musical act of all time, with an enduring career spanning five decades. While some would become footnotes in history, Southern All Stars would warrant entire books dedicated to their profound impact on Japanese music.

Before entering history, the five-member band led by Keisuke Kawata was one of Japan's numerous college rock bands, formed at Tokyo's ritzy Aoyama Gakuin University in 1974. They inked a deal with a major label and agency in 1977 after gaining recognition as one of the highlights of the traditional Yamaha Song Contest. In 1978, their first single, "Katte ni Sinbad," whose title referenced hit songs from two of the country's biggest music stars (Kenji Sawada's "Katte ni Shigare" and Pink Lady's "Nagisa no Sinbad"), quickly turned into a hit.

Southern All Stars, seen above on the cover of their second single, "‎Kibun Shidai de Semenaide."

What set Southern All Stars apart from the outset was their distinctiveness. Initially categorized as "folk," the trendy genre of the era, they were a band from an elite Tokyo university whose sound was infused with exotic foreign influences. Today, their reach and impact are vast enough to be recognized as "J-pop," the most universally appealing contemporary genre. However, akin to Carol, they also played a pivotal role in demonstrating the viability of Japanese rock.

Like Johnny Okura before him, Keisuke Kuwata discarded the rulebook on composition. Lyrics no longer needed to conform to a predetermined syllable count, emulating Japanese poetry; they merely had to synchronize with the rhythm. "Katte ni Sinbad," influenced by Latin music, featured nonsensical lyrics yet emerged as a major hit, marking a watershed moment in local music.

But that was just the beginning for Southern All-Stars. They refused to adhere to a fixed formula. Their lyrics ranged from nonsensical to cohesive, going from traditional to invented words. Their music incorporated samba, reggae, rock, pop, and folk influences. They demonstrated that there was no one-size-fits-all approach for Japanese musicians to follow. The audience eagerly joined them on this musical expedition, pushing the boundaries of what was acceptable in Japanese music.

And with that lesson, the '70s came to a close.

[bollywoodirect]

33 Years of #Shiva (07/12/1990).

Ramgopal Varma's "Shiva" stands as a significant milestone in Indian cinema, mainly due to its pioneering approach in various aspects of filmmaking. One of the most notable contributions of "Shiva" was its innovative cinematography and sound design, which were quite ahead of their time in the Indian context. The film broke new ground with its realistic and unorthodox visual storytelling, coupled with groundbreaking camera work, setting a new benchmark in the industry. Additionally, "Shiva" was instrumental in introducing fresh talent, both in front of the camera and behind the scenes, aiding in the launch of several notable careers in Indian cinema.

Another key aspect where "Shiva" left its mark was in its portrayal of violence. Unlike the stylized and often exaggerated action scenes common in Indian films of that era, "Shiva" presented violence in a more realistic and gritty manner, influencing the way action sequences were handled in subsequent Indian movies. Alongside its technical prowess, the film was also acclaimed for its strong narrative and well-rounded character development. Moving away from the melodramatic norms of the time, it focused more on creating relatable characters and engaging storylines. This shift not only enriched the film's appeal but also had a lasting impact on the narrative styles of Indian cinema. In essence, "Shiva" is often regarded as a turning point in the Indian film industry, marking the beginning of a new era, especially in the action and crime genres, and has influenced a generation of filmmakers.

Directed by: Ram Gopal Varma Written by: Ram Gopal Varma, Iqbal Durrani (dialogues) Cinematography: S. Gopal Reddy Starring: #Nagarjuna, Amala, J. D. Chakravarthy & Raghuvaran Songs by: Ilaiyaraaja & Majrooh Sultanpuri.

[monalisaspears]

i was thinking about this before bed the other day and idk i wanted to try and articulate the thought as best as possible.

mona lisa and rebellion are two sides of the same coin, but i feel like mona lisa is the commercial version of rebellion.

like think about it like this: that 50 second snippet of rebellion that's out there and that one pap clip of britney driving off while playing the intro are DARK. they're gritty and they're eerie sounding. if we actually got rebellion on blackout, im not sure if it would have been a single or just an album track/cult favorite. like of course, a lot of things would have needed to go differently for that to have happened (i.e. the cship) but i really can't see rebellion as a track for radio. whereas mona lisa has a similar (albeit not the same) message and is more radio friendly, sonically speaking (besides britney literally leaking it to kiss fm herself). and honestly? it's prophetic too. not that im saying one track is better than the other, but GOD mona lisa predicts britney's future to a T and it's scarily accurate that i can only imagine what the final sound of rebellion was. even with the alleged confirmed lyrics that are online and the snippet we have like that does not read as a radio single in the slightest, that feels like a cult favorite album track.

and another thing: it is SO bizarre to me that mona lisa was included on the singles collection. like yeah, it's on chaotic, but that was released in 2005 and at a point where britney was as free as can be. for the cship team in 2009 already two years into the nightmare to allow mona lisa to be released again as a part of the singles collection is so wild to me. like i don't know if it's just me but it almost feels damning for them to approve it. like maybe a misdirect, like they assumed we wouldnt see the cship as a bad thing if they willingly allowed this song that's so self-aware about how the industry (and her team specifically) did not want to see britney succeed on her own terms. like a hiding in plain sight thing? but even still, wouldnt it make more sense for them to try and bury it? continue with the narrative that original doll never existed and Britney went rogue one night by herself and turn the narrative on her? it just confuses me. not to mention the prior use of the mona lisa moniker in do somethin' which was also pre-cship but after mona lisa the song was played on the radio. like it's all so confusing how these are all connected and yet such isolated events.

it's just all so interesting to me. like i wonder about if we had gotten rebellion and mona lisa was the lost track and if the demand and intrigue would be the same. i think because there's something darker and sinister almost about the way rebellion sounds and how stark of a contrast those lyrics are to anything else she's released there's a reason it's so sought after. and it's not like mona lisa's lyrics arent telling, they are, but sonically that darker grittier tone to rebellion is something unique compared to the instrumental of mona lisa like that instrumental comparatively doesn't feel as heavy, charged, and loaded as the snippet we have of rebellion. i think if the situation went exactly the same but with rebellion being the leaked KISS FM track instead of mona lisa it would have been silenced by team con AND wouldnt have been looked at twice by the GP.

i dont know what this is supposed to accomplish or justify but it's just something i've been sitting on for a while in my brain. the what ifs of life always get me especially with rebellion and britney's life and career. rebellion always intrigues me with all the baggage attached to it including but not limited to the death of one of the song's producers (may christopher "notes" olsen rest in peace). it fascinates me still that of all her songs that have leaked over the years that rebellion never has, despite someone allegedly having THE blackout demo cd that has the full song on it. it's just something i find fascinating that i wonder about a lot from time to time. 2007 could have gone in a COMPLETELY different direction and rebellion is the barest proof of that against all that's happened since.

[randomvarious]

Today's compilation:

Vhutemas Archetypi 1986 Industrial / Avant Garde / Experimental / Neo-Classical

Well, it's not spelled exactly the same way, but, according to the Museum of Modern Art's website...

VKhUTEMAS is an acronym for Vysshie khudozhestvenno-tekhnicheskie masterskie (Higher state artistic and technical studios). Established in 1920 in Moscow as the successor of SVOMAS (Free state art studios), it was conceived as a specialized institution that would prepare qualified master artists, professors, and directors to work in both industry and higher education. It aimed to fulfill the state's goals for efficiency and production by linking art with politics. The curriculum of VKhUTEMAS was similar to that of the Bauhaus. First-year students were required to complete the basic course, which covered subjects including color theory, construction, and art history, providing both an artistic and a political education. Other concentrations included metalwork, woodwork, textiles, and architecture.

Now, two things here: one, VKhUTEMAS did not last very long; it shut its doors in 1930, so, this isn't any kind of collection of music by artists who were actually enrolled there. And two, that entry on MoMA's website makes no mention of music being part of the school's curriculum, either. However, given this terrific album art that depicts some classical-looking statues, as well as the release's name itself—Vhutemas Archetypi—I think it's pretty damn safe to assume that this album was made with that VKhUTEMAS school in mind.

And, really, what better way to sonically reflect the linking of things like art, architecture, and politics than through the genre of industrial music, which has a history of both utilizing tools of all kinds as instruments and incorporating the noises that those tools generate into the music itself?

Now, while I can certainly appreciate the freeform experimentalism of industrial artists, I'm definitely not remotely a fan of the music's subversive, abrasive, and generally unsettling nature. However, when industrial stuff does get combined with other genres that I do enjoy, there's an increased chance that I'll end up digging the product.

So, while I hated listening to the vast majority of this mid-80s avant garde industrial comp, I still actually do have a highlight for you all; and it's barely a highlight, but I dig its uniqueness nonetheless. Hunting Lodge is a group from Port Huron, Michigan, and in '85, they put out a 12-inch EP called Tribal Warning Shot. Appearing on this particular comp along with that release's title track is another song from it called "Soul-Vac," which isn't just an industrial tune, but an electro-industrial tune.

Now, maybe you've heard the term electro-industrial before. It's its own subgenre of industrial music that became popular in the 90s, after electronic body music—a form of industrial dance that took root in the 80s, and is referred to as EBM for short—died out. Electro-industrial is known for using hard and gritty beats, scratchy and often modulated vocals, and tends to be more intricate than EBM as well.

But that's actually not the electro-industrial that I'm referring to here. What I'm referring to is a literal hybrid of electro music—the hip hop-adjacent, Afro-futuristic dance music of the 80s that was pioneered by people like Afrika Bambaataa—and industrial music. That's what "Soul-Vac" is: a strange brew of a grainy electro beat with metallic clanging of some kind very prominently laid over the top of it. It's certainly not the greatest thing in the world, but it deserves some points for being a bit different, at the very least.

So, outside of the album art, that one song is the only thing that I can say that I genuinely like about this release. But people with far weirder tastes than mine will probably enjoy this one way more than I do, since it has legendary industrial acts like Laibach, SPK, and Lustmord on it.

Anyway, I don't think that I'll ever end up acquiring the taste for industrial stuff, but at least I managed to find one cool tune in this batch, which is why I always give a chance to music that I myself don't expect to particularly enjoy.

Highlights:

Hunting Lodge - "Soul-Vac"

[studioofearthlydelights]

What inspires your work? Who are your biggest inspirations?

People, community, justice. Relationships. I always want things to feel human and organic. In a world where capitalism wants everything to be homogenous and systemized, I always want to create the thing made by hand, the unique or weird thing. I love plants and am really inspired by nature and life cycles. I garden. The esoteric. Tarot and astrology. Texture. Experimentation. Materials. Clay, glass, brass, charcoal. Music, loud and soft textures, contrast.

Kae Tempest — I sat next to Kae in a poetry slam at the Nuyorican in NYC in, like, 2010. I didn’t know they were performing. We chatted a bit throughout the show and then they went last, destroying the stage and winning the slam. The have gone on to rap and write and put out records and write plays and exist in this elevated yet gritty, honest space. Their shows are some of the most magical community experiences I’ve ever witnessed. They care deeply about people and community and bring that to everything they do.

Adam Gnade — Writer and musician that I’ve followed since Myspace days. I messaged him once for the lyrics to a spoken word song I heard of his called “Honey Slides” and I was so happy he responded (but I never saved it and wish I did??). We’re now kind of internet acquaintances. He is prolific and speaks in this gritty, no fucks voice that I can always feel emotionally. He puts out books and cassettes and zines and just whatever he feels like forever. Years ago when I was asking myself what the definition of a successful artist meant to me, he was on my list because I just want to make stuff people care about, consistently, forever. He’s got a long-term, loyal fanbase. I just want to find my people and create for them/us for as long as I’m breathing. Girl Knew York — There is a way Mira is rooted in her voice and craft that allows her to branch out into so many different mediums and communities that I aspire to and have really resonated with in the last few years. Tracey Emin — Sexually empowered badass artist, uses her body to tell story. Just opened a school, holding space for other artists and building community.

David Lynch — Dark and weird. Prolific. Wholesome yet obscene. Moby — Plays, like, every instrument. Is always playing, even after so many years in the industry. Karen O — Such a unique voice in a male dominated industry and world. Seth Rogen — I love the way he’s built a brand around craft and his own unique interests and personality and pleasure.

Vex Ashley — Creating gorgeous erotic films with A Four Chambered Heart. Director, photographer, artist of all things erotic and dark.

Emma Ruth Rundle — Musician and visual artist. Creating dark, emotional art across different genres of music (metal, folk, etc.) and visual media (photography, sculpture, installation). 

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Books That Revolutionized the Music Business

The music industry is a constantly evolving ecosystem, shaped by trends, technologies, and influential figures. While many factors contribute to its transformation, certain books have played a pivotal role in revolutionizing how the music business operates. These books don’t just document the history of the industry; they have inspired shifts in thinking, fostered new approaches, and even challenged long-standing norms. Here, we explore some of the most groundbreaking works that have had a lasting impact on the music business.

The Power of Insightful Storytelling

One of the most notable works in this genre is Hit Men: Power Brokers and Fast Money Inside the Music Business by Fredric Dannen. First published in 1990, this book offers a gritty, no-holds-barred look at the inner workings of the music industry during its heyday. Dannen reveals how deals were made, hits were created, and careers were destroyed, often exposing the darker side of the business. By highlighting the influence of key figures in shaping the industry, Hit Men became a must-read for anyone seeking to understand the intricate web of power and money behind popular music. The book’s detailed analysis shed light on practices that were rarely discussed openly, prompting debates and reforms in how the business operates.

Demystifying the Industry for Artists and Professionals

Another groundbreaking work is Donald S. Passman’s All You Need to Know About the Music Business. Often referred to as the "Bible of the Music Industry," this book has educated countless musicians, managers, and executives about the complexities of contracts, royalties, and rights. Passman’s ability to break down legal and financial jargon into understandable language has empowered artists to negotiate better deals and avoid common pitfalls. Originally published in 1991, the book has been regularly updated to reflect changes in the industry, including the rise of streaming services and the digital revolution. Its impact lies not only in the knowledge it imparts but also in the sense of control it gives readers over their careers.

Challenging Traditional Models

In the digital age, the music business has undergone a seismic shift, and books like The Future of Music: Manifesto for the Digital Music Revolution by David Kusek and Gerd Leonhard have been instrumental in shaping discussions about these changes. Published in 2005, this book was ahead of its time, predicting the rise of streaming platforms and the decline of traditional record sales. Kusek and Leonhard argued that the future of music lies in access rather than ownership, a concept that has become a reality with platforms like Spotify and Apple Music. By offering a roadmap for navigating this new landscape, the book has inspired both optimism and innovation in the industry.

Understanding the Hit-Making Process

Another influential book is The Song Machine: Inside the Hit Factory by John Seabrook. Published in 2015, this work delves into the formulaic process behind today’s chart-topping hits. Seabrook explores the global network of songwriters, producers, and executives who work together to craft the next big single. By revealing the meticulous, almost scientific approach to creating pop hits, The Song Machine challenges the romantic notion of the lone artist and highlights the collaborative, corporate side of music. This book has been particularly influential in helping readers understand the role of global music hubs like Stockholm in shaping the sound of modern pop.

Spotlighting Inequities in the Industry

The music business has long grappled with issues of inequality, and books like Black Vinyl, White Powder by Simon Napier-Bell have sparked important conversations. Published in 2001, this book examines the racial and cultural dynamics of the industry, exploring how certain genres and artists have been marginalized while others have been promoted to the forefront. Napier-Bell’s candid narrative forces readers to confront uncomfortable truths about the business, inspiring efforts to create a more equitable and inclusive industry.

The Rise of the Independent Artist

The advent of digital tools has empowered artists to take control of their careers, and books like How to Make It in the New Music Business by Ari Herstand have been pivotal in this shift. Herstand’s book provides a step-by-step guide for navigating the industry as an independent artist, covering everything from building a fan base to distributing music online. Published in 2016, this book has become a cornerstone for DIY musicians seeking to succeed without the backing of major labels. Its emphasis on leveraging technology and social media has inspired a new generation of artists to forge their own paths.

Ethics and Accountability in the Music Business

The music industry has often been criticized for its lack of transparency and ethical practices. Books like Ripped: How the Wired Generation Revolutionized Music by Greg Kot have brought these issues to the forefront. Published in 2009, this book examines how the internet and digital piracy disrupted traditional business models, forcing the industry to adapt. Kot’s work highlights the ethical dilemmas faced by both artists and executives, encouraging readers to consider the broader implications of their decisions.

Inspiring the Next Generation

One of the reasons these books continue to resonate is their ability to inspire future generations of music professionals. Whether it’s Passman’s practical advice, Kusek and Leonhard’s visionary outlook, or Seabrook’s behind-the-scenes revelations, these works provide invaluable guidance for navigating the complexities of the industry. They challenge readers to think critically about their roles, question established norms, and embrace innovation.

Conclusion

The music business is as much about artistry as it is about commerce, and the books that have revolutionized the industry reflect this duality. From exposing hidden truths to predicting future trends, these works have shaped how the industry operates and how it is perceived. They serve as essential reading for anyone looking to understand or participate in the music business, offering both knowledge and inspiration. As the industry continues to evolve, new books will undoubtedly emerge to document and influence its next chapter, but the works discussed here will remain foundational in shaping the narrative of the music business.