Fight Your Own War Kindle ´ Fight Your ePUB Ò

Fight Your Own War Kindle ´ Fight Your ePUB Ò

Fight Your Own War [PDF / Epub] ★ Fight Your Own War Author Jennifer Wallis – Power electronics is a genre of industrial or 'noise' music that utilises feedback and synthesizers to produce an intense loud challenging sound To match this sonic excess power electronics also relie Power electronics is a genre of industrial or 'noise' music that utilises feedback and synthesizers to produce an intense loud challenging sound To match this sonic excess power electronics also relies heavily upon extreme thematic and visual content whether in lyrics album art or live performance It is a genre that often invites strong reactions from both listeners and critics if not dismissed or ignored altogether Fight Your Own War is the first ever English Fight Your ePUB Ò language book primarily devoted to power electronics bringing together essays and reviews that explore the current state of the genre from early development through to live performance listener experience artist motivation gender and subcultures such as 'Japanoise' Written by artists fans and critics from around the world Fight Your Own War provides comment on a musical form that is at once theatrical and absurdist while bringing to listeners a violent ecstatic and potentially consciousness altering experience In considering this 'spectacle' of noise how far can we simply label power electronics as a genre of shock tactics or of transgression for transgression's sake.

10 thoughts on “Fight Your Own War

  1. Taylor Taylor says:

    Painful at times A handful of decent pieces don't do much to save this from the predominant high school student level writing at best Who are half of these people and who cares about half of these chapters? As the book progresses it just gets worse and worse Mikko Aspa's piece some of Richard Stevenson's pieces and the UK piece are perhaps the only worthwhile reads here Non essential

  2. Mark Ward Mark Ward says:

    First things first a confession whilst I was looking forward to reading this book I bought it primarily because a musical project that I did for about eight years was mentioned in it which left me feeling lovely and I was glad to be included about a book on noise music as well as knowing of the contributors Whilst being a fan of noise music but not particularly the subgenre of power electronics this is the first book that I’ve managed to make it through on the topic but it’s given me the impetus to go back and continue reading them They are for reference the Irish academic and noise musician Paul Hegarty’s NoiseMusic A History and David Novak’s Japanoise Music at the Edge of Circulation especially since they are felt throughout this volume As far as noise music goes however power electronics was never particularly something that I was drawn to especially given the often ridiculous vocals that accompany the noise – my interests lay at the harsh noise wall noise static noise end of the spectrum so I thought this book might be an interesting overview of the topic although as such I'm aware that it mightn't uite be the book for me Overall it is interesting but I felt that somehow – I can’t uite put my finger on it – this book evaded the topic The subtitle Power Electronics and Noise Culture never feels resolutely and thoroughly addressed Saying that there is a huge swathe of articles about power electronics artists and articles about both notable noise releases and aspects of noise culture such as noise zines I primarily bought this for my friend Clive Henry’s article on wall noise Listening to the Void Harsh Noise Walls which is an excellent exploration and uasi history of the genre but what’s interesting is that the book doesn’t feel like it’s a book on noise culture; it feels like it’s a book on PE and chapters like this or on japanoise feel somewhat out of place despite being some of the best in the book I suppose what I’m saying is that I wish this book had a tighter focus almost and excluded non PE artists – I feel it would work better as a book But then I also would read an entire book about Harsh Noise Wall and I’m probably in a very very small minority To discuss the book a little it is laid out in three parts Scenes Performance and Readings The opening chapter The Genesis of Power Electronics in the Uk sets the scene uite well as does Mikko Aspa’s chapter on The Rise of Power Electronics in Finland but some of the chapters are personal reminiscences of a scene based around a band’s viewpoint of their place in it – which while totally valid I wish wasn’t the case My favourite chapter of this first section was Chronicling US Noise and Power Electronics covering as it does a wide range of noise projects and stances The second section Experience and Performance talks about noise performance various notable venues and the like Again the most interesting chapters for me were the non PE chapters Clive Henry’s HNW chapter and Power Electronics Exploring Liveness in Noise It’s weird I think as I write this I feel like the reason that that’s the case is because I’m just not really a fan of power electronics so reading this book was a lovehate affair I think in addition to and converse to my idea of just having this book as a book about Power Electronics that it would’ve been stronger for me if it was a book about noise and noise culture with all genres covered The third section is the most interesting in regards to PE The first chapter uestionable Intent The Meaning and Message of Power Electronics was interesting addressing the fact that a lot of PE projects use highly controversial imagery without comment or context I feel that a lot of projects with very very dodgy messages are almost let off the hook because it’s “art” which shouldn’t necessarily be the case You can talk about controversial topics but when you make a career trading off controversy sexism racism etc you shouldn’t be surprised if people try and hold you accountable What I would’ve liked in this book would’ve been a much in depth treatment of race culture and PE than was offered The most interesting chapters of this section were the two that viewed Power Electronics as a form of high impact comedy; where the lyrics and vocals are so ridiculous that it can only be viewed as such I’m not sure if I agree but it’s an interesting thesis nonetheless What’s interesting though is that the book ends with a chapter called Talking About Noise The Limits of Language and the practical inabilities of accurate description Which is perfect for a book where the music discussed is pure noise

  3. Bernie4POTUS Bernie4POTUS says:

    Be in absolutely no doubt vis á vis core contributions to the counter cultural canon Fight Your Own War is worthy to stand beside Killing for Culture on the sanguineously saturated shelf of any serious student of sinistrality That said these are very different books in terms of the sensory modality that they interrogate and hence of associated factors Let's engage issues around each in turn Killing for Culture is a foundational text of necroscopia studies It is not nor does it claim to be aimed at intellectuals One need not be an intellectual or indeed intelligent or an adult to appreciate the atrocitotropic appeal of an on screen beheading immolation or autopsy procedure But this very un intellectualism and extra academicality safeguard the text and it's authors from certain traps inherent in cognitively ambitious critical projects viz conformism an all too common trait in an academic environment theoretic over elaboration pretension bluntly BS moralism andor priggishness emotional detachment etc etc Fight Your Own War will prove I predict a foundational text of cacophonia studies Unlike Killing for Culture it is aimed at intellectuals and thereby becomes susceptible to the traps referenced above It is enormously to the credit of the book it's editorial community and it's multiple contributors that it skirts the traps with almost complete success Further it does a damn fine job of smashing stereotypes confounding expectations and shedding light on an under appreciated and over stereotyped corner of the counter culture Power electronics noise and contingent genres are NOT the sole preserve of static recording serial killer obsessives poly performative pedo promoting ironists nazi nostalgic social Darwinists black clad Nietzschean misanthropes or variants thereonBottom line although the passionate proponents of un easy listening responsible for Fight Your Own War will inevitably be preaching largely to the converted there's no doubt that some new folk will first take a read then take a listen and discover visceral new vistas of sonic possibility opening before them In a fetid world of adolescent voyeurism state panopticonism and white trash populism Headpress maintain an unflinching affiliation to counter cultural values resolutely standing with the shade of William S Burroughs to champion the individual against the herd From cacophonia to corpses from noise to necrophilia they cover the trangressive waterfront with a katabatic blitzkrieg of heretical heterogeneity putrefactive performativity and estoeric Otherness Long and loud may their feral voice continue

  4. Warren Fournier Warren Fournier says:

    Your approval of this collection of reviews articles and interview snippets will largely be based on your preconceptions so go into it with an open mind For example there have been criticisms of this book for poor writing but the book largely consists of the honest words from engineers and musicians with a specific means of expression and writing prose is not it I've also seen negative reviews from those who consider themselves highly familiar with Power Electronics but believe that they know better than the curators and contributors to this book At the same time I've seen positive reviews from those who know nothing about PE or noise music and yet found their interest sparked by this book I've read disapproval from those who simply do not like PE and gushing reviews from those who are already established fanatics So don't go into this work with what you think you know already about literature art politics or music The main uestion I attempt to answer for anyone possibly reading this review is should you give this book your time? The short answer is that if you have come this far and are even bothering to read this review then sure why not? You can read the book episodically choosing to check out a short article here and there while you wait at the BMV or are sitting on the toilet You do not have to be a musician or an expert in noise music to get something out of it Just don't expect high philosophy or any revelations to help you get it This is mostly a listing of some influential artists who practice this form of expression and the personal experiences of some noise artists with the industry It is a good overall introduction to this strange but fascinating and often rewarding artformBut why would anyone be interested in such a work about listening to and creating sounds that most people would turn off as uickly as possible? Well the fact is that noise demands our focus and we can all identify with that You may have found yourself lulled into a trance by the hum of the car engine and the hiss of the eighteen wheeler trucks rushing past on a long commute Or you may intentionally subject yourself to the metallic frictions of a set of singing bowls to unwind after a hard day Or you may have found your otherwise reserved character whipped into a frenzy by loud music at a live concert I myself have always liked the drone of my Evinrude outboard motor as I scuttle along the bayous and waterways in my Boston Whaler Noise is powerful It can evoke emotions without words and it can heal Thus noise music is truly music stripped down and at its most primal level My own reasons for reading this book was because industrial was one of my most formative musical genres and I wanted to go further down the rabbit hole with a subgenre I had not experienced in my youthful past As early as 9 years old tapes of SPK NON Nurse with Wound and Clock DVA were reaching my ears through my older musician cousin and his cronies These were not necessarily noise projects but they all employed a lot of experimental soundscapes and walls of dense harsh noise SPK's Leichenschrei absolutely changed my life and the way I heard music forever I still consider it perhaps the best industrial album of all time As a fan of horror movies even as a kid the images and feelings these sounds evoked were right up my alley so to speak By the time I was a teenager in the late 80s and early 90s I was still drawn to bands with an industrial aesthetic but which were accessible to my need for music with which to mate and party so bands like Ministry NIN Skinny Puppy Depeche Mode Cabaret Voltaire Nitzer Ebb and Foetus took over In the last five years I have revisited my old records but I am middle aged and have been through so much bullshit and so I found my older self finding a bit release from noisy Clock DVA albums like Deep Floor or from the lucky feedback anomalies of Nurse With Wound's Solilouy for Lilith This led me to a happy accident when I discovered the album Raya and Sekina by the Richard Ramirez project An Innocent Young Throat Cutter and I was shocked how 40 minutes of a wall of static had repeat listening potential and even served as a kind of rejuvenating meditation for me Around the same time I listened to a devastating PE work called Geography of Hell from Sarajevo and perhaps no other form of music could convey the anger confusion and madness of living in Serbia at the time of NATO bombings and civil war I wanted to learn about this genre and by chance came across this book There are several chapters detailing the big names in various noise scenes as they developed around the world so you get a good sampling of talent After learning in this book about the plethora of musical output in this genre I've come to add such albums as Will by Hunting Lodge to some of my favorite listening experiences For example the second track of that recording We Are They literally makes you feel like you are trapped on a runaway train or a malfunctioning rollercoaster with all the exhilaration and terror that goes with it Then there is the track Ice Pick Method with its industrial clanging and hammering providing an arrhythmic pulse beneath blood curdling screeches and distorted elephant trumpeting sounds that are reminiscent of the thumping and screaming you hear coming from a haunted house attraction while you anxiously await your turn in lineNot all PE or noise appeals to me especially from projects that focus on shock and death with little context and lots of pretentious posing The book does a good job pointing out that the genre has become associated with some very unsavory preoccupations which in some cases is deserved as there certainly are some examples of PE cranked out by mentally ill or immature musicians who think their work needs to fit into a check box formula of album sleeves with grainy black and white images of corpses and Nazi imagery with track titles that randomly contain words about paraphilia and white supremacy The book does feature many artists with true passion for their work who explain their own personal connection with Noise and Industrial culture in a straightforward manner that I respected as honest and mature If you have a story like mine that has led you on a path of musical discovery in the diverse and bizarre world of Industrial music you will enjoy this book and the journey it will set you on

  5. Casper Veen Casper Veen says:

    Absolutely excellent book about noise and power electronics Really made me enjoy this kind of music even And got a lot of great artist recommendations out of it too Really recommended for anyone into noise

  6. Lawrence Lawrence says:

    Pamphlets of Destiny Jennifer Wallis editor Fight Your Own War

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