References
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| Power electronics | |
|---|---|
| Stylistic origins | |
| Cultural origins | Late 1970s to early 1980s, United Kingdom |
| Typical instruments | |
| Fusion genres | |
| Death industrial | |
Power electronics is a style of noise music that typically consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, with sometimes screamed and distorted vocals. The genre is noted for its influence from industrial, and is occasionally also referred to as heavy electronics.
Like most noise music, power electronics is generally atonal and features a lack of conventional melody or rhythm. To match its sonic excess, it often includes thematic and visual content that might be considered extreme, whether in lyrics, artwork, or live performance. It has been known to invite visceral reactions from both listeners and critics, although many choose to dismiss or ignore it altogether. [1] Power electronics is related to the early Industrial Records scene, but later releases had more in common with noise music. [2]
The name of the genre was coined by William Bennett of Whitehouse as part of the sleeve notes to their 1982 album Psychopathia Sexualis. Tellus Audio Cassette Magazine produced a compilation compact cassette tape called Power Electronics in 1986 that was curated by Joseph Nechvatal. [3]
Death industrial is an industrial subgenre typified by a dense atmosphere, low-end drones, harsh loops and screamed and/or distorted vocals. It can be differentiated from power electronics by a slower, more atmospheric and less abrasive sound reminiscent of dark ambient. Acts described as death industrial include Brighter Death Now, Atrax Morgue, Genocide Organ.
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