Assimilate: a critical history of industrial music

Content: Introduction 
 1. A Fading Vision Lost in Time 
 2. The Pan-Revolutionary 
 3. The \"I\"-Word 
 Part 1: Technology and the Preconditions of Industrial Music 
 I. Italian Futurism 
 1. Industry 
 2. The Aesthetics of the Machine 
 3. Crash 
 II. William S. Burroughs 
 1. Junkie 
 2. The Control Machines 
 3. Brainwashing and the Conflation of Authority 
 4. Mediatic Verses 
 5. The Cut-Up 
 6. Process as Composition 
 7. Media 
 8. Techno-Ambivalence 
 III. Industrial Music and the Avant-Garde 
 1. Noise and Revisionism 
 2. The Revolutionary Class 
 Part 2: Industrial Geography 
 IV. Northern England 
 1. Progress in Hell 
 2. The Original Sound of Sheffield 
 3. Meatwhistle and ClockDVA 
 4. Throbbing Gristle 
 5. Manchester in the Shadow of War 
 V. Berlin 
 1. An Island Out of This Planet 
 2. Strategies Against Architecture 
 3. German-ness 
 4. Ingenious Dilettantes 
 5. West Germany Beyond Berlin 
 VI. San Francisco 
 1. Madness in Any Direction, at Any Hour 
 2. Monte Cazazza and Self-Propaganda 
 3. Z\'ev and Survival Research Laboratories 
 4. Factrix and Chrome 
 VII. Mail Art, Tape Technology, and the Network 
 1. Fluxus and UFOs 
 2. A History of Tape Trading 
 3. Taping as a Political Act 
 4. The Eternal Network 
 5. A Virtual Scene 
 Part 3: Industrial Music as Music 
 VIII. The Tyranny of the Beat: Dance Music and Identity Crisis 
 1. Those Heady Days of Idealism Are Over 
 2. Irony 
 3. Technology and Rhythm 
 4. Futurist Pop 
 5. Pleasure 
 6. Industrial Identity 
 IX. <
\"After Cease to Exist>
\": England 1981-1985 
 1. The Mission is Terminated 
 2. London 
 3. Beyond London 
 X. Body to Body: Belgian EBM 1981-1985 
 1. A Satellite State 
 2. Luc Van Acker 
 3. Front 
 4. Musical Order 
 5. Bodily Order 
 XI. Industrial Music as a Theatre of Cruelty 
 1. Artaud-Damaged 
 2. Theatricalities of All Kinds 
 XII. \"She\'s a Sleeping Beast\": Skinny Puppy and the Feminine Gothic 
 1. From Pop to Puppy 
 2. Vancouver\'s Fertile Ground 
 3. Disrupting Maleness 
 4. The Feminine Gothic 
 Part 4: People and Industrial Music 
 XIII. Wild Planet: WaxTrax! Records and Global Dance Scenes 
 1. Industrial Music and the Mainstream 
 2. The Beginnings of WaxTrax! 
 3. Ministry 
 4. Mixing and Merging 
 5. The Business of Chaos 
 6. Clubbing and Participatory Culture 
 7. New Beat 
 8. The WaxTrax! Heyday 
 XIV. Q: Why Do We Act Like Machines? A: We Do Not. 
 1. Pretty Hate Machine 
 2. Industrial Harmony 
 3. Language, the Self, and Gender 
 4. Get Me an Industrial Band 
 5. Resembling the Machine 
 XV. Death 
 1. Death as Event 
 2. Death as Metaphor 
 3. Death as Fashion 
 4. New Life 
 XVI. Wonder 
 1. Covenant and the Ubiquitous Sublime 
 2. Apoptygma Berzerk and the Spontaneous Sublime 
 3. VNV Nation and the Unthinkable Sublime 
 4. The Futurepop Backlash 
 5. Clubbed to Death 
 6. The Longevity of Industrial Bands 
 7. Industrial Music Is Dead? 
 Part 5: Meaning and Revolution 
 XVII. Back and Forth: Industrial Music and Fascism 
 1. Extremism as the Norm 
 2. Silent Politics 
 3. Loud Apolitics 
 4. The Effects of Fascism\'s Spectre 
 5. Fascist Assimilation 
 6. The Hidden Reverse 
 XVIII. White Souls in Black Suits: Industrial Music and Race 
 1. Whiteness 
 2. The Inheritance of Blues, Jazz, and Dub 
 3. Exotica, Caricature, and the Techno-Oblivious 
 4. Technology and Racial Engagement 
 5. Black and White 
 6. Repetition and the English Ballad 
 XIX. Is There Any Escape for Noise? 
 1. Unpalatable Truths 
 2. The First Two Options 
 3. Transgression as Law 
 4. The Future Happened Already 
 5. Pleasure, Flag Planting, and Revolution 
 6. The Third Mind