Fight Your Own War

Fight Your Own War 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 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

Is a well-known author, some of his books are a fascination for readers like in the Fight Your Own War book, this is one of the most wanted Jennifer Wallis author readers around the world.

❮Reading❯ ➿ Fight Your Own War  Author Jennifer Wallis – Webcambestmilf.info
  • Paperback
  • 340 pages
  • Fight Your Own War
  • Jennifer Wallis
  • 09 January 2018
  • 9781909394407

10 thoughts on “Fight Your Own War

  1. 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. 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 Noise Music 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 quite be the book for me Overall, it is interesting, but I felt that somehow I can t quite 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 quasi 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 quite 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 love hate 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, Questionable 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. says:

    Be in absolutely no doubt vis 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 and or 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 thereon.Bottom 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. 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.

  5. says:

    Pamphlets of Destiny Jennifer Wallis editor Fight Your Own War

  6. says:

    The decision to stylised and written the first book that devoted specifically on Power Electronics as a fanzine is somehow slightly off for me although with a valid justification on the introduction pages I don t think it s necessary to put reviews of seminal Power Electronics releases between the gaps, could have been better if there is pages exploring on the visual representation of Power Electronics However, lots of writing in this book are really fascinating and surprisingly diverse considered the nature of how Power Electronic perceived by public love Sonia Dietrich s written piece in this book.

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