feel like walking around a high school graduation party with ryan gosling in that stuntman mask from drive on a leash asking people why they aren’t signing up is as far as it goes at the moment. maybe amy tan and amy poehler starting a sketch comedy troupe. david sedaris starring in all future david fincher productions. a fatal attraction sequel after all these years starring the still-living original cast members…
Seriously. Biking home from work about 6 am, and there he is, only PJ bottoms and flip-flops. As far as I could tell he was transferring shit from his front yard across the street onto the neutral ground with a dustbin.
I don’t think crash clatter is the aspect of coherence, the likeness.
Melody – the reduction/elevation to or disclosure of ‘pop’ – is the horizon that entails McCartney and Reznor. When McCartney shows up at the end of that studio-tribute movie that Grohl made, you can see that McCartney could make music with anybody who hears and makes in terms of ‘songs’. It’s a nice moment when, after a jam comes together, one of the musicians says something like ‘I was struggling but it came together’, and stoner McCartney says, ” . . . yeah.”, and everyone in the room *satori*.
I wasn’t being entirely ironic when I called McCartney “industrial” (though I was joking about the “original” part). “Temporary Secretary” arguably shows that Sir Paul was, like Mr. Reznor, listening closely to Gary Numan in 1979. “Are Friends Electric?” was released in May of that year. McCartney recorded “Temporary Secretary” July–August, and released it on 15 September.
It’s worth remembering also that McCartney was a fan of Stockhausen’s well before Yoko Ono got Lennon into him, and dragged him off to record “Revolution No. 9.”
All of this is to say that I don’t find it odd that PMcC would be on tour with NIN, no. Though I don’t know if I’d call NIN’s music (past or present) primarily melodic; I think that’s a tad too reductive.
I guess I’m not sure what “industrial” means; to me, it connotes harsher ‘factory’ sounds than electronica usually uses. And Numan — to me, that’s disco music, with the r&b element smothered by–translated into?–lush and/or drip-drip synth.
The Beatles were surely playing with harsh sounds – and with all kinds of sounds – in, what, the second half of their meteoric flight; you might hear ‘industry’ in the aggro beats and howling of, say, Helter Skelter. And if McCartney want’s to play, eh, symphonic music with NIN on the bill, who’s Reznor to be distressed, ha ha. They’ll probably have fun together.
Didn’t mean NIN is primarily melodic; forced to isolate one trait as ‘first’, I’d pick the pounding. But if I heard a tune more or less spontaneously – say, Closer – , and especially if, in that moment, I was digging it, it would be primarily the chord/note sequence–the melody–that would have hooked me.
Real ‘industry’ — Metal Machine Music, Einstürzende Neubauten, Wendy O. Williams, chainsaws bashing corrugated tin — … I think Reznor is a lot closer to AC/DC than he is to that racket-making.
Haven’t developed a theory, but I think that just as the mind tends irresistibly (?) to narrate, so too does it tend to sort sound from the ground of pleasure. I think melody — maybe too catholically considered? — is what one makes when one shapes sound.
That’s certainly fair, though I’ll insist NIN is (or once was) industrial the way you define it. E.g. Re: Numan & McCartney, I think also it’s useful to remember how … unusual (and mechanical) … synthesizers sounded in the 1970s and early 80s. McCartney’s secretary track is, I think, playing up the harshness of the technology, which is why I find it industrial. But all of these artists/tracks are definitely on the pop edge of that phenomenon, especially in regards to the musicians you mention.