Noise, Power Electronics and the No-Audience Underground: Place, Performance and Discourse in Leeds’ Experimental Music Scene

References

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References

1. Anon. (2019), Anonymised Facebook exchanges in response to Miller. Accessed 8 February 2019 [link no longer available].
2. Atton, Chris (2012), ‘Genre and the cultural politics of territory: The live experience of free improvisation’, European Journal of Cultural Studies, 15:4, pp. 427–41.
   [Google Scholar]
3. Bailey, Thomas Bey William (2013), Micro Bionic: Radical Electronic Music & Sound Art in the 21st Century, n.p.: Belsona Books.
   [Google Scholar]
4. Bath, Tristan (2017), ‘Spool's out: The best releases on cassette this October’, The Quietus, 23 October, https://thequietus.com/articles/23435-tape-column-sophie-cooper-worriedaboutsatan-wild-card-pye-corner-audio. Accessed 18 November 2021.
5. Bealle, John (2013), ‘DIY music and scene theory’, in Midwest Chapter of the Society for Ethnomusicology, Cincinnati, Ohio, 13 April.
6. Blenkarn, Michael (2019), ‘Confronting the shadow: A power electronics praxis’, Ph.D. thesis, Newcastle: Newcastle University.
   [Google Scholar]
7. Candey, Scott E. (2016), ‘Chronicling US noise and power electronics’, in J. Wallis (ed.), Fight Your Own War: Power Electronics and Noise Culture, London: Headpress, pp. 42–61.
   [Google Scholar]
8. Foist, D. (2016), ‘“The Horror! The Horror!”: Leeds Termite Club and British Noise History’, in J. Wallis (ed.), Fight Your Own War: Power Electronics and Noise Culture, London: Headpress, pp. 93–111.
   [Google Scholar]
9. Grady, Spencer (2016), ‘The servitudes of slapstick: A comedy of violence’, in J. Wallis (ed.), Fight Your Own War: Power Electronics and Noise Culture, London: Headpress, pp. 199–211.
   [Google Scholar]
10. Graham, Stephen (2016), Sounds of the Underground: A Cultural, Political and Aesthetic Mapping of Underground and Fringe Music, Ann Arbor: University of Michigan Press.
    [Google Scholar]
11. Guttersnipe (2018), ‘Guttersnipe’, interviewed by A. Bliss, The Wire, 417, November, pp. 30–32.
12. Harris, Taran (2021), ‘Covid-19 as a catalyst for the enculturation of online video performance: The online stage during the coronavirus lockdown’, Sonic Scope: New Approaches to Audiovisual Culture, no. 2, https://www.sonicscope.org/pub/cwuic4ju/release/2. Accessed 20 November 2021.
13. Hayler, Rob (2015), ‘What I mean by the term “no-audience underground”’, radiofreemidwich blog, 14 June, https://radiofreemidwich.wordpress.com/2015/06/14/what-i-mean-by-the-term-no-audience-underground-2015-remix/. Accessed 7 October 2021.84
14. Hayler, Rob (@radiofreemidwich) (2019), ‘Oh FFS! Just somehow lost a 14 tweet draft thread about Bower, that Bizarre Uproar show (which I went to knowing nothing about BU, just wanting to say hi to Stokoe) etc. In summary: 1. Skullflower review deleted from radiofreemidwich, 2. NAZI PUNKS FUCK OFF.’, Twitter, 10 February, https://twitter.com/radiomidwich/status/1094659335924387841. Accessed 7 October 2021.
15. Idwal Fisher (2014), ‘Recon special’, Idwal Fisher, fanzine, Bradford, n.pag.
16. Khan-Harris, Keith (2007), Extreme Metal: Music and Culture on the Edge, Oxford: Berg Publishers.
    [Google Scholar]
17. Lewis, Paul, Evans, Rob and Wainwright, Martin (2011), ‘Second police officer to infiltrate environmental activists unmasked’, The Guardian, 12 January, https://www.theguardian.com/environment/2011/jan/12/second-undercover-police-officer-unmasked. Accessed 16 November 2021.
18. Miller, Dylan (2019), ‘Does my black sun look big in this? Skullflower's patterns of predjudice’, The Quietus, 11 February, https://thequietus.com/articles/26024-skullflower-matthew-bower-fascism-racism. Accessed 16 November 2021.
19. Mooney, James and Wilson, Daniel (2013), ‘Beyond auditive unpleasantness: An exploration of noise in the work of Filthy Turd’, in M. Goddard, B. Halligan and N. Spelman (eds), Resonances: Noise and Contemporary Music, New York: Continuum, pp. 312–25.
    [Google Scholar]
20. Ó Dubhshláine, Melanie (2010), ‘Swingin’ Leeds’, The Wire, 321, November, p. 6.
    [Google Scholar]
21. Stevenson, Richaard (2016), ‘Questionable intent: The meaning and message of power electronics’, in J. Wallis (ed.), Fight Your Own War: Power Electronics and Noise Culture, London: Headpress, pp. 176–84.
    [Google Scholar]
22. Taylor, Phil (1993), ‘Con-Dom’, EST, 4 (Summer), http://media.hyperreal.org/zines/est/intervs/con-dom.html. Accessed 3 November 2021.
23. Taylor, Philip (2016), ‘The genesis of power electronics in the UK’, in J. Wallis (ed.), Fight Your Own War: Power Electronics and Noise Culture, London: Headpress, pp. 10–18.
    [Google Scholar]
24. Termite Club (2001), Termite Club website (archived), https://web.archive.org/web/20010518184306/http://www.geocities.com/sunsetstrip/pit/5725/. Accessed 18 February 2022.
25. Threadgold, Steven (2018), ‘Creativity, precarity and illusio: DIY cultures and “Choosing Poverty”’, Cultural Sociology, 12:2, pp. 156–73.
    [Google Scholar]