Industrial techno | |
---|---|
Stylistic origins | |
Cultural origins | Late 1980s to early 1990s, UK, US, Japan |
Other topics | |
Industrial techno is a subgenre of techno and industrial dance music that originated in the 1990s. [1] Characteristically, it incorporates influences from the bleak, noisy sound and aesthetics of early industrial music acts, particularly Cabaret Voltaire and Throbbing Gristle. [2] [1] American industrial music label Wax Trax! also had a profound influence over the genre's development. [3]
The origins of industrial techno date back to the early 1980s with the work of Japanese musician Ryuichi Sakamoto, then a member of Yellow Magic Orchestra. According to Fact and Louder Than War , Sakamoto's solo album B-2 Unit (1980) anticipated the sounds of industrial techno. [4] [5]
Some of the earliest musical projects in the genre include the band Final Cut, formed by Jeff Mills and Anthony Srock in Detroit during the late 1980s. [6] [7] Their 1989 debut industrial-techno album [8] Deep into the Cut was described by The Wire as "a significant moment in the convergence of the classic industrial aesthetic and the emerging sound of Detroit techno". [6]
The genre has seen a resurgence in the 2010s, [1] [2] spearheaded by acts such as Adam X, Orphx, and Ancient Methods, and others later like Blawan and Karenn. Other artists associated with industrial techno include Cut Hands, [1] Helena Hauff, [9] Forward Strategy Group, [1] Surgeon, [2] Michael Forshaw, [10] Jeff Mills, Regis, Dominick Fernow and Mike Banks. [11] Perc Trax record label has been credited with the revival of the genre in the UK, with artists such as Perc, Truss, Hppa and Ansome. [1] Some revival artists have subsequently been criticized for making the new music in the genre that "sounds old, that it's overly indebted to a sound invented and thoroughly exhausted in the '90s", [2] but despite this, innovation derived from the post-dubstep and garage scene have been highlighted. [2] As a result, it has gained a significant fanbase from the post-dubstep audience. [2]