Grace Jones performing at Afropunk Festival located at Commodore Barry Park in New York City on August 21, 2015
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@exit-everything
Grace Jones performing at Afropunk Festival located at Commodore Barry Park in New York City on August 21, 2015
Gang Of Four, 1978.
(x)
What is your favorite kind of Industrial Music?
Traditional Industrial (Throbbing Gristle, SPK, Cabaret Voltaire, Monte Cazzaza)
Dark Ambient (Akira Yamaoka, Lustmord, Raison D'etre, Nordvargr, Inade)
Electro-Industrial (Skinny Puppy, Front Line Assembly, Das Ich, Wumpscut)
Industrial Rock/Metal (NIN, Ministry, Godflesh, KMFDM, Pitchshifter)
EBM (Front 242, Youth Code, DAF, Pankow, Nitzer Ebb)
Industrial Hip-Hop (Dalek, Death Grips, Clipping, Ho99o9, Backxwash)
Power Electronics (Whitehouse, Puce Mary, Atrax Morgue, Pharmakon, Grim)
Rhythmic Noise (Converter, Noisex, PAL, Orphx, Sonar
Industrial Techno (Schwefelgelb, Silent Servant, Ancient Methods)
Neofolk (Current 93, Rome, Sol Invictus, Death In June)
Killing Joke were one of the few bands that could perfectly walk the line between Goth and Industrial, and a lot of that ability had to do with Geordie Walker's prowess as a guitar player. He was always sorely underrated as a guitarist, especially considering how many iconic riffs were his doing. Of course, one of those iconic riffs was the opening riff for "Eighties" that Kurt Cobain...err..."gently lifted" for Nirvana's "Come as you Are".
Geordie's passing is making me think about how there are a lot of great musicians in this world who came and went without much fanfare while they were alive, but their influence can be heard in so many musicians who came after them. No magazine covers, no Rockstar fan worship, just solid musicianship that helped to define a music genre as we know it to exist. May Geordie's soul rest in peace and his legacy continue to live on with those who appreciated him.
Susanne Kuhnke of Malaria!, Kassel, Germany - 20.06.1982
Siouxsie and the Banshees, and Robert! - 1983 Stockholm, Sweden
Atsushi Sakurai: Well, I guess I want to transcend gender. It's part of the job. The moment I get embarrassed about this kind of thing, I'm finished...But I think it's only recently that I've really become able to get pumped up about it like I do now. It's become more fun for me, too. I feel like I'm transforming into something else.
Interviewer: I suppose your image is similar to David Bowie's bisexuality. Or maybe it's a more Japanese image of femininity.
AS: Yeah. ...I think it's more Japanese style. Bowie's calculated androgyny was certainly surprising as a work of art, but when I act a role for myself, it's the refined femininity of ancient Japan, but with power. That's what I become. In fact, I have a number of friends and acquaintances like that. Men, but with women's souls, something like that. When I look at people like them, I think… “it suits them so naturally,” or “I quite like this.” They also seem very gentle to me…I suppose I have a bit of that element or quality myself. When I was a child, I felt more comfortable playing with girls. Even now I sometimes get told that I'm “feminine.”
Interviewer: If you went down that path, do you think you could love a man?
AS: Yes.
(from Ongaku to Hito magazine, March 2018)
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Rowland S. Howard in a Leeds hotel room, 1981
📸: Virginia Turbett
Sparkstember Day 3: Kimono My House
ANDY PARTRIDGE holding up an XTC t-shirt. (Circa 1980.) Photo taken by Peter Noble.