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Industrial Introduction Copyright © 2011 A.SE.FI. Editoriale Srl - Via dell’Aprica, 8 - Milano www.tsunamiedizioni.com Prima edizione Tsunami Edizioni, aprile 2011 - Le Tempeste 5 Tsunami Edizioni è un marchio registrato di A.SE.FI. Editoriale Srl La foto sulla copertina è di Thomas Boll Progetto copertina: Marco Fantin Finito di stampare nell’aprile 2011 dalla Gesp - Città di Castello (PG) ISBN: 978-88-96131-28-2 Tutti i diritti riservati. È vietata la riproduzione, anche parziale, in qualsiasi formato senza l’autorizzazione scritta dell’Editore. Per le foto nel testo l’autore e l’editore ringraziano: Pagina 112 - Jean Marmeisse Pagina 131 - Betty Cobb, Los Angeles Pagina 161 - Tracey Roberts Pagina 180 - Red Leather Heather Pagina 244 - Sirius Pagina 289 - Francesca Cerri Pagina 305 - Gili Shani La presente opera di saggistica è pubblicata con lo scopo di rappresentare un’analisi critica, rivolta alla pro- mozione di autori ed opere di ingegno, che si avvale del diritto di citazione. Pertanto tutte le immagini e i testi sono riprodotti con finalità scientifiche, ovvero di illustrazione, argomentazione e supporto delle tesi sostenute dall’autore. Nell’impossibilità di risalire agli aventi diritto delle fotografie pubblicate, l’Editore si dichiara disponibile a sanare ogni eventuale controversia. GIOVANNI ROSSI STORIA ED EVOLUZIONE DELLA MUSICA INDUSTRIALE 5 INDICE UNA NOTA PRIMA DI COMINCIARE... [7] PREFAZIONE di LUSTMORD [9] GENESI[S] [11] INDUSTRIAL INTRODUCTION [15] ELEMENTAL MUSIC [29] LA STANZA DELLE TORTURE [41] [S]CULTURA INDUSTRIALE [51] GUERRA TOTALE [59] SINFONIA PER UN GENOCIDIO [71] COME DISTRUGGERE GLI ANGELI [87] MUSICHE PER CORPI [99] IL VIALE DELLE TEMPESTE [107] PULIRE, PIEGARE E MANIPOLARE [117] ALBA DORATA [127] CAMBI DI SCENA [139] QUESTIONE DI ETICHETTA [145] DOVE PENDONO LE STELLE NERE [153] LA SPIRALE DISCENDENTE [175] HEY AMICO, BEL COLPO! [189] LA MAREA NOTTURNA [207] FUORI DAL TEMPO [225] NUOVE FRONTIERE [243] FUOCO A VOLONTÀ [249] ASTRO CREEP: 2000 [263] ANNO ZERO [277] OGGI SIAMO TUTTI DEMONI [293] FUTURE-SHOCK [307] VOCI DALL’UNDERGROUND [315] POSTFAZIONE di MAURIZIO BIANCHI [329] Appendice I - ALLE RADICI DELL’INDUSTRIAL di Z’EV [331] Appendice II - DEDICATO AI POCHI di ADI NEWTON [335] Appendice III - ALTRI RIVOLUZIONARI [341] NOTE [349] RINGRAZIAMENTI [359] INDICE DEI NOMI [361] (C) TSUNAMI EDIZIONI - WWW.TSUNAMIEDIZIONI.COM ‘Per me industrial signifi ca Processo, purezza di forma e di funzione, musica progettata per essere utilizzata, come un utensile o un pezzo d’arredamento’. Peter ‘Sleazy’ Cristopherson 6 (C) TSUNAMI EDIZIONI - WWW.TSUNAMIEDIZIONI.COM 7 UNA NOTA PRIMA DI COMINCIARE... Quando circa tre anni fa ho iniziato a scrivere le prime righe di Industrial [r]Evolution, sapevo bene a cosa sarei andato incontro. Per parafrasare Frank Zappa, parlare di industrial è ben peggio che ballare di architettura. L’industrial è senza ombra di dubbio uno dei ge- neri più inaff errabili, sotterranei, inclassifi cabili e inconoscibili del panorama musicale. La stessa sua classifi cazione come genere musicale è per molti versi riduttiva. Migliaia di arti- sti e gruppi, un sottobosco di ramifi cazioni, correnti e sottogeneri, centinaia di fanzine ed etichette specializzate. Per non parlare delle aree tematiche aff rontate in quasi quarant’anni di storia: religione, politica, sesso, occulto, performance art, letteratura, futuro, natura, scienza, psicologia solo per citarne alcune. Qualsiasi pretesa di completezza o esaustività sarebbe stata vana, e con questa premessa di cui ero ben consapevole è nato Industrial [r]Evolution, la storia dell’evoluzione di un genere che ha rivoluzionato i canoni della mu- sica moderna. Ho scelto di raccontare questo percorso attraverso le voci dei protagonisti, raccogliendo in giro per il mondo migliaia di cartelle di interviste inedite, senza censurare alcuna posizione e riportando fedelmente il punto di vista di chi ha scritto la storia del genere. Mettendo insieme questa moltitudine di voci, sono emersi gli stessi dubbi e le stesse considerazioni che popolano la scena da quando è nata. Cosa si può defi nire come industrial? Quali ne sono i capisaldi tematici? Quali artisti e gruppi possono ritenersi parte di questo ambiente? Ho trovato indispensabile utilizzare il concetto di evoluzione come chiave attraverso cui trovare le risposte. Solo tramite un’analisi di tipo evolutivo è infatti possibile comprendere come siano nati i primi sottogeneri, in che modo si sia sviluppato il ricorso alla tecnologia, come l’etichetta stessa di ‘industriale’ sia diventata presto oggetto di discordia. Power electronics, martial industrial, industrial metal, dark ambient, EBM, solo per citare alcune fi liazioni dell’industrial, hanno radici comuni, ma contenuti e trat- ti distintivi decisamente diff erenti tra loro. Aff rontare tutto con pretesa di completezza sarebbe risultato impossibile, includere tutti i nomi altrettanto arduo. Per questi motivi Industrial [r]Evolution non è l’enciclopedia di un genere, non è un manuale per tuttologi, non aspettatevi una bibbia infallibile, né il punto di vista assoluto sulla verità. Lo ripeto, tanti artisti non sono presenti, ma tanti altri meno noti hanno trovato qui un posto. Indu- strial [r]Evolution ha assunto questa forma perché ho scelto la strada suggerita dagli stessi protagonisti, buttandomi a capofi tto nella mischia, indagando collaborazioni e citazioni, lavorando sulle segnalazioni e sui legami di sangue tra gli artisti, scavando nel sottobosco delle scene più nascoste, raccogliendo una sfi da ai limiti dell’impossibile per cercare di dare il giusto tributo ad un genere che, salvo pochi casi, non ha mai varcato la soglia della (C) TSUNAMI EDIZIONI - WWW.TSUNAMIEDIZIONI.COM UNA NOTA PRIMA DI COMINCIARE... nicchia e dell’underground. Quella che avete tra le mani è una raccolta di testimonianze unica, un incomparabile elenco di aneddoti, racconti ed esperienze. Una storia che è in constante evoluzione, secondo lo spirito stesso dell’industrial, ed un libro che non si fer- ma, pulsa e si contorce in un blog (http://industrialrevolution-gr.blogspot.com) che ne co- stituisce la naturale appendice perennemente aggiornata con tutto ciò che non ha trovato e non troverà spazio sulla carta. Industrial [r]Evolution è un punto di partenza per chi vuole approfondire una passione, una guida per chi si avvicina al genere, una pietra angolare per capire e comprendere una scena musicale unica e straordinaria. Giovanni Rossi 8 (C) TSUNAMI EDIZIONI - WWW.TSUNAMIEDIZIONI.COM 9 PREFAZIONE L’industrial non è stata una scena, se con questo intendiamo l’essere parte di un gruppo di persone che fanno la stessa cosa o che cercano di perseguire gli stessi obiettivi. Il nome, come si sa bene, è preso dalla label che fondarono i robbing Gristle e si potrebbe dire che le persone che facevano parte di quell’etichetta fossero come i membri di una famiglia, ma tutto questo non deve essere confuso con il fare parte di una scena. Durante questo primo periodo c’erano un buon numero di persone che condividevano con- vinzioni e prospettive simili, unite semplicemente dal fatto di essere degli outsider. In queste circostanze divenne inevitabile il conoscersi l’uno con l’altro e un vincolo comune ha fatto sì che le persone condividessero le informazioni, le esperienze ed i consigli su di chi ci si potesse dare e chi no. Ci si prestava anche l’equipaggiamento, oltre a scambiarsi consigli e informazioni di tipo tecnico o legate al business. È stato un gruppo di persone caratterizzato da un forte spirito di sostegno reciproco, sia in senso pratico che in tanti altri modi. Era tutto incentrato sulle idee e sul cercare di provare a fare cose nuove, di creare qualcosa di proprio e di essere ascoltati. In seguito altri ne copiarono molte delle idee e dei suoni, smarrendo completamente il punto e facendo prevalere lo stile sui contenuti. L’industrial non fu mai un suono, un look o uno stile. L’industrial fu tutto ciò che queste brutte copie non erano e non potranno mai essere. Brian LUSTMORD Williams (C) TSUNAMI EDIZIONI - WWW.TSUNAMIEDIZIONI.COM 11 GENESI[S] Dimentichiamo per un momento i termini ‘movimento’ o ‘cultura’. Dimentichiamo- li quantomeno in relazione al fenomeno defi nito come ‘industrial’. Mettiamoli da parte non per vezzo, ma perché sono gli stessi precursori di questo genere a dirlo. Sicuramente c’è stato qualcosa che ad un certo punto ha accomunato artisti geografi camente molto distanti tra loro; è infatti fuori discussione che alcuni stilemi siano stati ripresi in modo quasi sincrono da persone lontane centinaia di miglia. E perché allora non parlare di movimento o cultura? Perché non individuare padri, padrini e fi gli di questo nuovo genere che ha iniziato ad infettare Birmigham, Berlino, New York, Melbourne e non metterli sotto un cappello comune? Lo abbiamo già detto: sono gli stessi iniziatori di questo nuovo genere a riconoscere come l’industrial si sia diff uso in maniera virale, come un’epidemia sottocutanea, sle- gato da ogni ideologia preconcetta o da programmazioni a tavolino, cullato nell’alveo macilento dell’underground e guardato con diffi denza da avanguardie e sperimentatori. Se per movimento o cultura intendiamo invece una consapevolezza diff usa all’interno di un gruppo a cui sottostanno regole, scopi e tratti distintivi, allora non siamo dalle parti dell’industrial. Questione di termini, ma non solo. I pionieri dell’industrial si sono in- nanzitutto nutriti delle lezioni punk, post punk e hardcore, in alcuni casi – pochissimi, per essere onesti – hanno bevuto al calice della composizione classica, mentre più spesso hanno semplicemente guardato in faccia una società che stava rapidamente cambiando, e non sempre in meglio. Una società che stava lentamente ribaltando il rapporto uomo- tecnologia a favore della macchina, sostituendo i sentimenti di carne e sangue con val- vole prima, silicio poi e cibernetica più tardi. Una società in cui il suono lasciava sempre più spazio al rumore (non inteso come cacofonia o assenza di armonia) ridefi nendone il signifi cato ed all’interno della quale gli strumenti classici non erano più in grado di soddisfare le esigenze espressive degli autori.
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