In the 1980s, industrial splintered into a range of offshoots, sometimes collectively named post-industrial music.[1] This list details some of these offshoots, including fusions with other experimental and electronic music genres as well as rock, folk, heavy metal and hip hop. Industrial genres have spread worldwide and are particularly well represented in North America, Europe, and Japan.
Electro-Industrial draws on Electronic Body Music (EBM), and developed in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep, complex and layered sound. The style was pioneered by Skinny Puppy,[25]Front Line Assembly, and Wumpscut. In the mid-'90s, the style spawned the dark electro and aggrotech offshoots.[26] Other artists include Haujobb,[27]Lab Report,[28] and Leæther Strip.[29]
Japanoise (a blend of the words "Japanese" and "noise") is the noise music scene of Japan.[64][65] Popular and active in the 1980s and 1990s but continuing into the early 21st century, the Japanoise scene is defined by its sense of musical freedom: Groups range from the punk demolition of Hanatarash[66] and its subsequent psychedelic Boredoms evolutions,[67] to the tabletop electronics of Incapacitants[68] and Merzbow.[69] The scene was initially inspired by power electronics[70] and sometimes deals with BDSM themes.[71] Nonetheless, Japanoise is often less serious than other post-industrial styles,[72] and some musicians, such as Aube,[73] are also inspired by psychedelia or space rock.
Neofolk is the music of artists like Douglas Pearce of Death In June,[74]Tony Wakeford of Sol Invictus,[75] and David Tibet of Current 93,[76] who had collaborated with one another.[77][bettersourceneeded] These musicians comprised a post-industrial music circle who incorporated folk music based on traditional European elements. Neofolk can be solely acoustic folk music or a blend of acoustic folk instrumentation with accompanying sounds, such as pianos, strings or elements of industrial music and experimental music. The genre encompasses an assortment of themes including traditional music, heathenry, romanticism and occultism. Neofolk musicians often have ties to other genres such as martial industrial. Apocalyptic folk predates neofolk and was used by David Tibet for the music of his band Current 93 during the late 1980s. Initially, Tibet did not intend to imply connection with the folk music genre; rather, that Current 93's music was made by "apocalyptic folk, or guys."[78]
Power electronics was originally coined by William Bennett for the noise music of his own project Whitehouse.[70] It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics. Deeply atonal, there are no conventional melodies or rhythms.[79] Members of Whitehouse who began other projects, such as Sutcliffe Jügend, also practice power electronics.[80]Death industrial is a similar style associated with groups such as The Grey Wolves,[81] but the term first referred to artists such as Brighter Death Now.[82] The Swedish label Cold Meat Industry issued the releases in this subgenre.[82]
Power noise (also known as rhythmic noise) takes its inspiration from some of the more structured and distorted early industrial acts, such as Esplendor Geométrico.[83] The Belgian group Dive also anticipated the style in the early '90s.[83][84] Power noise groups meld noise music with various forms of electronic dance music. The term "power noise" was coined by Raoul Roucka of Noisex in 1997, with the track "United (Power Noise Movement)".[85][86] Typically, power noise is based upon a distorted kick drum from a drum machine such as a Roland TR-909, uses militaristic 4/4 beats, and is usually instrumental. Sometimes a melodic component is added, but this is almost always secondary to the rhythm. Power noise tracks are typically structured and danceable, but are occasionally abstract. This genre is showcased at the annual Maschinenfest festival in Krefeld, Germany, as well as at Infest in Bradford, England. Other artists include Imminent Starvation, Axiome, Converter, and Terrorfakt. The German labels Ant-Zen and Hands Productions specialize in the style. Technoid grew out of the scene, taking inspiration from IDM, experimental techno and noise music. German label Hymen Records is responsible for the term and the style. Artists include Gridlock, Black Lung, Revolution State, and Xingu Hill.
Witch house is a debated term referring to a fusion genre of electronic music that features a prominent hip-hop influence, specifically the 1990s Houston chopped and screwed sound pioneered by DJ Screw.[87][88] Witch house consists of applying techniques rooted in Swishahouse hip-hop – drastically slowed tempos with skipping, stop-timed beats[89] – with signifiers of noise, drone, or shoegaze, the genre recontextualizes its forebears into a sinister, unprecedented, yet aesthetically referential atmosphere.[90] Witch house is also influenced by hazy 1980s goth bands, including Cocteau Twins, The Cure and Dead Can Dance,[91] as well as being heavily influenced by certain early industrial bands.[92][93] The use of hip-hop drum machines, noise atmospherics, creepy samples,[94]synthpop-influenced lead melodies, and heavily altered or distorted vocals is also common.
Sales
Nine Inch Nails live on tour in 2005
The best-selling offshoots of industrial music are industrial rock and metal; Ministry and Nine Inch Nails both recorded platinum-selling albums.[95] Their success led to an increase in commercial success for some other post-industrial musicians; the Nine Inch Nails remix album Further Down the Spiral, for example, which included contributions from Foetus and Coil, was certified gold in 1996.[95]
References
↑ Partridge, Christopher; Moberg, Marcus: Industrial, Post-industrial and Neofolk music, The Bloomsbury Handbook of Popular Music, Bloomsbury Academic 2017, ISBN1-474-23733-9, p. 206 "From the early 1980s onwards industrial music as represented by Throbbing Gristle influenced and was fused with other musical styles, resulting in what can be termed 'post-industrial styles'."
Hegarty, Paul (2004). "Full With Noise: Theory and Japanese Noise Music". In Kroker, Arthur; Kroker, Marilouise (eds.). Life in the Wires. Victoria, Canada: NWP CTheory Books. pp.86–98.
Hegarty, Paul (2007). Noise/Music: A History. Continuum International Publishing Group.
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