List of industrial music genres

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Industrial music is a form of experimental music which emerged in the 1970s.

Contents

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.

Industrial music

Industrial music comprises many styles of experimental music, including many forms of electronic music. The term was coined in the mid-1970s for Industrial Records artists. The first industrial artists experimented with noise and controversial topics. Their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. [2] Prominent industrial musicians include Throbbing Gristle, Cabaret Voltaire, Boyd Rice, SPK, and Z'EV. [2] Test Dept, [3] Clock DVA, [4] Nocturnal Emissions, [5] Laibach, [6] and The Leather Nun [7] subsequently participated in the movement. German group Einstürzende Neubauten forged their own style, which mixed metal percussion, guitars and unconventional instruments (such as jackhammers and bones) in stage performances that often damaged the venues in which they played. [8]

Post-industrial developments

Dark ambient

Dark ambient projects like Coil, [9] Lilith, [10] Nurse with Wound, [11] Lustmord, [12] and Zoviet France, [13] evolved out of industrial music during the 1980s. These artists make use of non-musical material and noise, but less abrasively than other post-industrial musicians, bordering more on ambient music. [14] The last material that Throbbing Gristle recorded in the studio, In the Shadow of the Sun and Journey Through a Body , was ambient, and pointed in the direction that TG's offshoots (notably Coil, Chris & Cosey) would take. [15] Other artists include Long Distance Poison, [16] Hafler Trio, [17] MRT, Kim Cascone, [18] Controlled Bleeding, [19] Nine Inch Nails (on their album Ghosts I–IV ), [20] early Techno Animal, [21] prominent game music composer Akira Yamaoka, Robin Rimbaud, [22] Final [23] and Deutsch Nepal. [24]

Nivek Ogre of Skinny Puppy, an electro-industrial group Kevin Ogilvie Headshot.jpg
Nivek Ogre of Skinny Puppy, an electro-industrial group

Electro-industrial

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]

EBM

EBM combines elements of European industrial, [30] German electronic music such as that of Klaus Schulze, [31] music of the Neue Deutsche Welle electropunk scene. [31] It first came to prominence in Belgium. [32] The name was coined by Ralf Hütter of Kraftwerk in 1978 to explain the more physical sound of their album The Man-Machine . [33] [34] The term was later used in its current sense by Belgian group Front 242 in 1984 to describe their EP No Comment , released in the same year. [35] It denotes a certain type of danceable electronic music, a mixture of electropunk and industrial music. Other artists include Armageddon Dildos, [36] [37] Die Krupps, [38] à;GRUMH..., [39] A Split-Second, [40] And One, [41] Bigod 20, [42] The Neon Judgement, [43] and Attrition. [44]

Industrial hip hop

Industrial hip hop fuses the themes and aesthetics of industrial with hip hop music. Its origins are in the work of Mark Stewart and Adrian Sherwood. In 1985, Stewart, former Pop Group singer, released As the Veneer of Democracy Starts to Fade , applying the cut-up style of industrial music with the house band of Sugar Hill Records (Doug Wimbish, Keith Leblanc, and Skip McDonald). [45] Sherwood was a major figure in British dub music, as well as working with industrial groups such as Cabaret Voltaire, Einstürzende Neubauten, Ministry, KMFDM, and Nine Inch Nails. [46] Tackhead, a collaboration between Sherwood and the Sugar Hill band, picked up where Stewart left off. [47] The Disposable Heroes of Hiphoprisy, from San Francisco, [48] [49] and Meat Beat Manifesto, [50] from the UK, are also early representatives of the style. The later work of Broadrick's Godflesh, [51] as well as his collaborations with Kevin Martin, Ice, [52] and Techno Animal, [51] are examples of industrial hip hop. [53] Saul Williams, a slam poet, also performs in the style. [54] Other notable contributors include clipping., B L A C K I E, Death Grips, JPEGMafia, and Dälek.

Al Jourgensen with Revolting Cocks, an industrial rock group Rev cocks.jpg
Al Jourgensen with Revolting Cocks, an industrial rock group

Industrial rock and industrial metal

Industrial rock artists generally employ the basic rock instrumentation of electric guitars, drums and bass and pair it with white noise blasts, electronic music gear (synthesizers, sequencers, samplers and drum machines). Guitars are commonly heavily distorted or otherwise effected. Bass guitars and drums may be played live, or be replaced by electronic musical instruments or computers. The early fusions of industrial music and rock were practiced by a handful of post-punk groups, including Chrome, [55] Killing Joke, [56] Swans, [57] : 32  Big Black, [58] and Foetus. [59] Nine Inch Nails popularized industrial rock in the US with the release of Pretty Hate Machine and The Downward Spiral . [60] Industrial metal evolved from the scene, and is practiced by groups such as Ministry, [61] Godflesh, [62] and Fear Factory. [63]

Merzbow, prominent Japanoise musician, in 2007 Masami Akita 5267969.jpg
Merzbow, prominent Japanoise musician, in 2007

Japanoise

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

The apocalyptic folk group Current 93 in 2007 Current 93 at All Tomorrow's Parties 17 May 2007, cropped and colour fixed.jpg
The apocalyptic folk group Current 93 in 2007

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] [ better source needed ] 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

Whitehouse, the founders of power electronics Whitehouse live 2006.jpg
Whitehouse, the founders of power electronics

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

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

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 NineInchNails.jpg
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]

Related Research Articles

Industrial music is a genre of music that draws on harsh, mechanical, transgressive, or provocative sounds and themes. AllMusic defines industrial music as the "most abrasive and aggressive fusion of rock and electronic music" that was "initially a blend of avant-garde electronics experiments and punk provocation." The term was coined in the mid-1970s with the founding of Industrial Records by members of Throbbing Gristle and Monte Cazazza. While the genre name originated with Throbbing Gristle's emergence in the United Kingdom, artists and labels vital to the genre also emerged in the United States and other countries.

<span class="mw-page-title-main">Industrial rock</span> Music genre

Industrial rock is a fusion genre that fuses industrial music and rock music. It initially originated in the 1970s, and drew influence from early experimental and industrial acts such as Throbbing Gristle, Einstürzende Neubauten and Chrome. Industrial rock became more prominent in the 1980s with the success of artists such as Killing Joke, Swans, and partially Skinny Puppy, and later spawned the offshoot genre known as industrial metal. The genre was made more accessible to mainstream audiences in the 1990s with the aid of acts such as Nine Inch Nails and Marilyn Manson, both of which have released platinum-selling records.

<span class="mw-page-title-main">Electronic body music</span> Music genre

Electronic body music (EBM) is a genre of electronic music that combines elements of industrial music and synth-punk with elements of dance music. It developed in the early 1980s in Western Europe, as an outgrowth of both the punk and the industrial music cultures. It combines sequenced repetitive basslines, programmed dance music rhythms, and mostly undistorted vocals and command-like shouts with confrontational or provocative themes.

<span class="mw-page-title-main">Bill Leeb</span> Austrian-Canadian musician

Wilhelm Anton "Bill" Leeb is an Austrian-Canadian electronic musician and record producer. He is best known for being a founding member of the industrial music group Front Line Assembly and Delerium. Additionally, Leeb is known for his work with groups Noise Unit, Intermix, Skinny Puppy, Synæsthesia, Cyberaktif, Equinox, Fauxliage and Pro>Tech.

<i>Pretty Hate Machine</i> 1989 studio album by Nine Inch Nails

Pretty Hate Machine is the debut studio album by the American industrial rock band Nine Inch Nails, released by TVT Records on October 20, 1989. The album was produced by frontman Trent Reznor, English producers John Fryer and Flood, among other contributors.

Industrial metal is the fusion of heavy metal and industrial music, typically employing repeating metal guitar riffs, sampling, synthesizer or sequencer lines, and distorted vocals. Prominent industrial metal acts include Ministry, Nine Inch Nails, Rammstein, KMFDM, and Godflesh.

<span class="mw-page-title-main">Godflesh</span> English industrial metal band

Godflesh are an English industrial metal band from Birmingham. The group formed in 1982 under the original title O.P.D. but did not release any complete music until 1988 when Justin Broadrick and B. C. Green renamed the band and decided to use a drum machine for percussion. Melding heavy metal with industrial music and later with electronic music and dub, Godflesh's sound is widely regarded as a foundational influence on other industrial metal and post-metal acts and as significant to both experimental and extreme metal.

<span class="mw-page-title-main">Neurosis (band)</span> American post-metal band

Neurosis is an American post-metal band from Oakland, California. It was formed in 1985 by guitarist Scott Kelly, bassist Dave Edwardson, and drummer Jason Roeder, initially as a crust punk band. Chad Salter joined as a second guitarist and appeared on the band's 1987 debut Pain of Mind and then Steve Von Till replaced him in 1989. The following year, the lineup further expanded to include a keyboardist and a visual artist. Beginning with their third album Souls at Zero (1992), Neurosis transformed their hardcore sound by incorporating diverse influences including doom metal and industrial music, becoming a major force in the emergence of the post-metal and sludge metal genres.

Dark ambient is a genre of post-industrial music that features an ominous, dark droning and often gloomy, monumental or catacombal atmosphere, partially with discordant overtones. It shows similarities with ambient music, a genre that has been cited as a main influence by many dark ambient artists, both conceptually and compositionally. Although mostly electronically generated, dark ambient also includes the sampling of hand-played instruments and semi-acoustic recording procedures.

Adrian Maxwell Sherwood is an English record producer specialising in the genre of dub music. He has created a distinctive production style based on the application of dub effects and dub mixing techniques to other forms of electronic dance music and popular music outside of the genre. He has worked extensively with a variety of reggae artists as well as the musicians Keith LeBlanc, Doug Wimbish and Skip McDonald. Sherwood has remixed tracks by Coldcut, Depeche Mode, The Woodentops, Primal Scream, Pop Will Eat Itself, Sinéad O'Connor, and Skinny Puppy. In his role as a record producer he has worked with a variety of record labels; however, his best-known label is On-U Sound Records which he founded in 1979. Sherwood has been a member of the band Tackhead. He considers himself tone deaf, and focuses on making sounds and noises rather than melody.

<i>Streetcleaner</i> 1989 studio album by Godflesh

Streetcleaner is the debut studio album by English industrial metal band Godflesh. It was released on 13 November 1989 through Earache Records and was reissued with a second disc of previously unreleased material on 21 June 2010. The album is widely acclaimed by critics and is often cited as a landmark release in industrial metal; though not the genre's first release, Streetcleaner helped define what industrial metal would become.

Electro-industrial is a music genre that emerged from industrial music in the early 1980s. While EBM has a minimal structure and clean production, electro-industrial tends to have a grittier, complex and layered sound with a more experimental approach. The style was pioneered by Skinny Puppy, Front Line Assembly, Numb, and other groups, either from Canada or the Benelux. In the early 1990s, the style spawned the dark electro genre, and in the mid-/late-1990s, the aggrotech offshoot. The fan base for the style is linked to the rivethead subculture.

Post-metal is a music genre rooted in heavy metal but exploring approaches beyond metal conventions. It emerged in the 1990s with bands such as Neurosis and Godflesh, who transformed metal texture through experimental composition. In a way similar to the predecessor genres post-rock and post-hardcore, post-metal offsets the darkness and intensity of extreme metal with an emphasis on atmosphere, emotion, and even "revelation", developing an expansive but introspective sound variously imbued with elements of ambient, noise, psychedelic, progressive, and classical music, and often shoegaze and art rock. Songs are typically long, with loose and layered structures that discard the verse–chorus form in favor of crescendos and repeating themes. The sound centres on guitars and drums, while any vocals are often but not always screamed or growled and resemble an additional instrument.

Paul Neville is an underground experimental guitarist and musician from Birmingham, England.

<i>Godflesh</i> (EP) 1988 EP by Godflesh

Godflesh is the debut EP by English industrial metal band Godflesh. It was originally released in 1988 through Swordfish Records and later saw several reissues on Earache Records with two additional songs. An unexpected underground success, the eponymous EP made it onto the UK Indie Chart and peaked at position 20. Though not supported by any singles or music videos at the time, a fan-made video for "Avalanche Master Song" has since been made official by the band.

Witch house is a microgenre of electronic music that is musically characterized by high-pitched keyboard effects, heavily layered basslines and trap-style drum loops, while it aesthetically employs occult and gothic-inspired themes.

<i>Not the Actual Events</i> 2016 EP by Nine Inch Nails

Not the Actual Events is the third extended play (EP) and tenth major release by the American industrial rock band Nine Inch Nails. It was released physically on December 23, 2016, under Trent Reznor's own label The Null Corporation, while those who had pre-ordered received a download link a day early. The second Nine Inch Nails EP of original material following Broken (1992), it marks longtime collaborator Atticus Ross's first appearance as an official member of the band. The digital pre-orders included a "physical component" that was shipped in early March 2017. The EP is the first in a trilogy released in 2016–2018, preceding Add Violence (2017) and the band's ninth studio album Bad Witch (2018).

<i>Bad Witch</i> 2018 studio album by Nine Inch Nails

Bad Witch is the ninth studio album by the American industrial rock band Nine Inch Nails, released by The Null Corporation and Capitol Records on June 22, 2018. It is the last of a trilogy of releases, following their two previous EPs Not the Actual Events (2016) and Add Violence (2017). As with the previous releases in the trilogy, it was produced by Trent Reznor and Atticus Ross, making it the band's first studio album since 2007's Year Zero to not be co-produced by the long-time collaborator Alan Moulder, who is credited with mixing the album.

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  90. ↑ Watson, William Cody (September 12, 2010). "Slow Motion Music". Impose Magazine. Retrieved September 16, 2017.
  91. ↑ Wright, Scott (March 9, 2010). "Scene and heard: Drag". The Guardian. London: Guardian News and Media Limited. Retrieved September 16, 2017.
  92. ↑ Marshalek, Russ (September 22, 2010). "Haunted: A Witch House Primer". Flavorwire. Retrieved September 16, 2017.
  93. ↑ Maness, Carter (August 25, 2010). "Brooklyn's Vanishing Witch House". NY Press. Retrieved September 16, 2017.
  94. ↑ Sokol, Zach (February 1, 2011). "The Witch House Debate: Is †he Music Genre Wor†h ∆ Lis†en?". NYU Local. Retrieved September 16, 2017.
  95. 1 2 "Gold & Platinum". riaa.com. Recording Industry Association of America. Retrieved September 16, 2017.

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