Original subtitles

Noise already surrounded us -

whether it be trains at a railway crossing,

or heavy equipment in factories.

The most important thing was not the music,

but the ideas and philosophy behind it.

- They addressed the dark sides of humanity. - Serial killers, pornography...

It was a way to shake up the establishment

to wake them up.

What was interesting about the industrial music of those years was that most

artists, compared to many other musicians,

of that period, came from

much broader and richer general and musical cultures.

These people are used to reading a lot.

and were very open to the art world

and for the world as a whole. It's been a struggle

having a political dimension.

They were concerned about social problems.

The beat generation brought new literature against the establishment

a new vision of literature and the world in general.

Anything that can resist the establishment

needed to be integrated.

We didn't have internet back then.

but many exchanges took place through letters.

I didn't know we were doing "mail art"

we were just doing it.

There was a large exchange network -

Genesis was already in contact with Cabaret Voltaire, SPK,

Vale of Re/Search, Boyd Rice of NON...

I released the first science fiction fanzine called "One Shot"

the second issue was dedicated to the music coming out at that time

and was renamed "Sordide Sentimental".

We wrote about unknown music at the time,

with articles on Throbbing Gristle among others.

When we were going to release the record, we decided that it would be TG,

because of all the groups that we corresponded with,

they were the most radical, breaking all musical and rock and roll traditions.

Fanzines were a means to an end for me.

A lot of people started with fanzines before they went pro,

and I always wanted to be an amateur.

I ordered huge metal drums

from the factory for my percussion.