View source for Industrial music

{{Short description|Music genre}}
{{Distinguish|Industrial musical}}
{{Use mdy dates|date=May 2012}}
{{Infobox music genre
| name              = Industrial
| other_names       = Industrial
| stylistic_origins = *[[Experimental rock|Rock]]
*[[Electronic music|electronic]]
*[[Avant-garde music|avant-garde]]
*[[noise music|noise]]
*[[musique concrète]]
*[[electroacoustic music|electroacoustic]]
*[[free improvisation]]
*[[performance art]]
*[[sound collage]]
*[[tape music]]
*[[futurism]]
*[[dada]]
*[[fluxus]]
*[[sound poetry]]
*[[indeterminacy (music)|indeterminacy]]
*[[sound art]]
*[[found sound]]
*[[aleatoric music]]
*[[Viennese Actionism|actionism]]
| cultural_origins  = Early-to-mid-1970s, United Kingdom, United States, and Germany
| subgenrelist      = List of industrial music genres
| subgenres         = *[[Post-industrial music|Post-industrial]]
*[[Power electronics (music)|power electronics]]
| regional_scenes   = *Australia
*Germany
*United Kingdom
*United States ([[Chicago]])
| other_topics      = *[[Experimental music]]
*[[post-punk]]
*[[synth-pop]]
*[[Japanoise]]
*[[no wave]]
}}
{{Electronic music top}}
'''Industrial music''' (or simply '''industrial''') is a [[subgenre]] of [[experimental music]]  inspired by [[post-industrial society]], initially drawing influences from [[avant-garde music|avant-garde]] and early [[electronic music]] genres such as [[musique concrète]], [[tape music]], [[Noise music|noise]] and [[sound collage]].<ref name=":02">{{cite web |title=Industrial |url={{AllMusic|class=style|id=ma0000002658|pure_url=yes}} |access-date=2017-05-05 |work=AllMusic |publisher=All Media Network |df=mdy-all}}</ref>  The term was coined in 1976 by [[Monte Cazazza]] and [[Throbbing Gristle]], with the founding of [[Industrial Records]]. Other early industrial musicians include [[Boyd Rice|NON]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]]. By the late 1970s, additional artists emerged such as [[Clock DVA]], [[Nocturnal Emissions]], [[Einstürzende Neubauten]], [[SPK (band)|SPK]], [[Nurse with Wound]], and [[Z'EV|Z’EV]], alongside [[Whitehouse (band)|Whitehouse]] who coined the subgenre "[[Power electronics (music genre)|power electronics]]".

During the 1980s, industrial music splintered into a range of offshoots collectively labelled "[[Post-industrial (music)|post-industrial music]]", these included, [[EBM music|EBM]], [[futurepop]], [[new beat]],<ref>{{Cite web |title=The Story of New Beat |url=https://daily.redbullmusicacademy.com/2018/01/new-beat-feature |access-date=2025-11-08 |website=daily.redbullmusicacademy.com |language=en}}</ref> [[new beat|hard beat]], [[dark ambient]], [[neofolk]], [[power noise]], [[industrial dance]], [[electro-industrial]], [[dark electro]], [[aggrotech]], [[industrial rock]], [[industrial metal]], [[cyber metal]], [[Neue Deutsche Härte]], [[martial industrial]], [[industrial hip-hop]], [[industrial techno]], [[Witch house (genre)|witch house]] and [[deconstructed club]].<ref>"... journalists now use 'industrial' as a term like they would 'blues.'"—Genesis P-Orridge, ''RE/Search'' #6/7, p. 16.</ref> By the 1990s, elements of industrial music were made accessible to mainstream audiences through the popularity of acts such as [[Nine Inch Nails]], [[Ministry (band)|Ministry]], [[Rammstein]], and [[Marilyn Manson (band)|Marilyn Manson]], all of whom released platinum-selling records.

== Etymology ==
According to the ''[[Oxford English Dictionary]]'', the genre was first named in 1942 when ''[[The Musical Quarterly]]'' called [[Dmitri Shostakovich|Dmitri Shostakovich's]] 1927 [[Symphony No. 2 (Shostakovich)|Symphony No. 2]] "the high tide of 'industrial music'."<ref name="OED1">{{Cite OED|term=Industrial}}</ref> Similarly, in 1972, ''[[The New York Times]]'' described works by [[Ferde Grofé]] (especially 1935's ''A Symphony in Steel'') as part of "his 'industrial music' genre [that] called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatic drill and a compressed-air tank".<ref name="NYT1">{{cite journal |last1=Henahan |first1=Donal |date=April 4, 1972 |title=Limned the Landscape |url=https://www.nytimes.com/1972/04/04/archives/limned-the-landscape.html |journal=[[The New York Times]] |page=46 |access-date=November 17, 2018}}</ref> Though these compositions are not directly tied to what the genre would become, they are early examples of music designed to mimic machinery noise and factory atmosphere. [[Italian Futurist]] [[Luigi Russolo]] laid the groundwork for industrial music with his book and work ''[[The Art of Noises]]'' (1913), which aimed to reflect "the sounds of a modern [[industrial society]]".<ref name=":1">{{cite journal |last1=Brown |first1=Barclay |year=1981 |title=The Noise Instruments of Luigi Russolo |url=https://www.jstor.org/stable/942398 |journal=Perspectives of New Music |volume=20 |issue=1/2 |pages=31–48 |doi=10.2307/942398 |jstor=942398 |url-access=subscription}}</ref>

==Characteristics ==
Industrial music was a response to "an age [in which] the access and control of information were becoming the primary tools of power,"<ref name="ReferenceA">The Secret History of Rock: The Most Influential Bands You've Never Heard by Roni Sarig</ref> defined primarily as a musical reflection of [[post-industrial society]], with its rampant use of contemporary technology and incorporation of unconventional [[Modernism|modernist]] lyricism and themes not commonly found in [[popular music]]. Industrial artists drew influence from [[modernist literature]], [[Modern art|art]], [[Modern philosophy|philosophy]] and [[avant-garde music]],<ref name="ReferenceA" />  rejecting formal [[rock music]] conventions, with [[Industrial Records]] wanting to use the term "industrial" to evoke the idea of music created for a new generation. Artist [[Genesis P-Orridge]] stated:<ref>''RE/Search'' #6/7, pp. 9–10.</ref><ref name="industrial records">{{cite web |title=Industrial Records: Industrial Music for Industrial People |url=http://brainwashed.com/tg/industrial.html |access-date=April 16, 2010 |publisher=Brainwashed Inc.}}</ref>
{{Blockquote|text=[...] there's an irony in the word 'industrial' because there's the [[music industry]]. And then there's the joke we often used to make in interviews about churning out our records like [[automobile|motorcars]], that sense of industrial. And [...] up till then the music had been kind of based on the [[blues]] and [[slavery]], and we thought it was time to update it to at least [[Victorian era|Victorian times]]—you know, [[the Industrial Revolution]].}}
Early industrial music made by groups such as [[Cabaret Voltaire (band)|Cabaret Voltaire]] and [[Throbbing Gristle]], featured tape editing, stark percussion, vocal effects and loops which were distorted.{{sfn|Reynolds|2005|p=168}}{{sfn|Reynolds|2005|p=170}} Throbbing Gristle opposed traditional rock music structures associated with the [[punk rock]] scene, declaring industrial to be "anti-music."{{sfn|Reynolds|2005|p=230}} Early industrial performances often involved [[taboo]]-breaking, provocative elements, such as [[mutilation]], [[sado-masochistic]] elements and [[totalitarian]] imagery or symbolism, as well as forms of [[Theatre of Cruelty|audience abuse]],<ref name="RE/Search #6/7, p. 5">''RE/Search'' #6/7, p.&nbsp;5.</ref> such as Throbbing Gristle's aiming high powered lights at the audience.<ref name="ford 8.10">Ford, 8.10</ref><ref name="industrial records" /><ref name="Handbook">V.Vale. ''[[Industrial Culture Handbook|Re/Search #6/7: Industrial Culture Handbook]]'', 1983.</ref><ref>{{cite web |last1=Starkey |first1=Arun |date=10 September 2024 |title=What does 'industrial' music actually mean? |url=https://faroutmagazine.co.uk/what-does-industrial-music-mean/ |access-date=20 February 2025 |website=Far Out magazine}}</ref><ref>Nicolas Ballet, ''Shock Factory: The Visual Culture of Industrial Music''. [[Intellect Books]], pp. 17-20</ref> [[Image:Burroughs1983 cropped.jpg|thumb|upright|[[William S. Burroughs]]' writings became a conceptual inspiration for the industrial music movement]]

Artists often played in non-traditional ways, incorporating the use of homemade instruments, such as [[Chris Carter (British musician)|Chris Carter]] of Throbbing Gristle who invented a device named the "Gristle-izer", played by [[Peter Christopherson]], which consisted of a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds.{{sfn|Reynolds|2005|p=228}} Cabaret Voltaire's [[Chris Watson (musician)|Chris Watson]] custom-built a [[fuzzbox]] for [[Richard H. Kirk]]'s guitar, produced a unique [[timbre]].{{sfn|Reynolds|2005|pp=169–170}}{{sfn|Reynolds|2005|p=168}} Carter built speakers, effects units, and synthesizer modules, as well as modifying more conventional rock instrumentation, for Throbbing Gristle.{{sfn|Reynolds|2005|p=227}} [[Cosey Fanni Tutti]] played guitar with a slide in order to produce [[glissando|glissandi]], or pounded the strings as if it were a percussion instrument.{{sfn|Reynolds|2005|p=230}} Throbbing Gristle also played at very high volume and produced ultra-high and sub-bass frequencies in an attempt to produce physical effects, labelling this approach as "metabolic music".{{sfn|Reynolds|2005|p=235}} [[AllMusic]] defines industrial music as the "most abrasive and aggressive fusion of [[Rock music|rock]] and [[electronic music]]".<ref name=":02"/>

Industrial groups typically focus on [[transgressive art|transgressive]] subject matter. In his introduction for the ''[[Industrial Culture Handbook]]'' (1983), [[Jon Savage]] considered some hallmarks of industrial music to be organizational autonomy, shock tactics, and the use of synthesizers and "anti-music."<ref name="RE/Search #6/7, p. 5" /> Furthermore, an interest in the investigation of "[[cult]]s, wars, psychological techniques of persuasion, unusual murders (especially by children and [[psychopaths]]), [[forensic pathology]], [[venereology]], [[concentration camp]] behavior, the history of [[uniforms]] and insignia" and [[Aleister Crowley]]'s ''[[magick (Aleister Crowley)|magick]]'' was present in Throbbing Gristle's work,<ref>''RE/Search'' #6/7, p. 9.</ref> as well as in other industrial pioneers. [[William S. Burroughs]]' recordings and writings were particularly influential on the scene, particularly his interest in the [[cut-up technique]] and noise as a method of disrupting societal control.<ref>"These ideas contributed some of the theoretical mise-en-scène for emergent Industrial groups such as Throbbing Gristle, SPK, and Cabaret Voltaire, all of whom experimented with cut-up sound and re-contextualised ambient recordings." Sargeant, Jack, "The Primer: William S. Burroughs," ''The Wire'' 300, February 2009, p. 38.</ref> Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism.<ref>''RE/Search'' #6/7, p. 105</ref> Throbbing Gristle's logo was based on the [[Flash and Circle|lightning symbol]] of the [[British Union of Fascists]],<ref>{{cite book |author=Webb, Peter |title=Exploring the Networked Worlds of Popular Music |publisher=Psychology Press |year=2007 |isbn=978-0-415-95658-1 |page=80 |chapter=Neo-Folk or Postindustrial Music |access-date=January 30, 2011 |chapter-url=https://books.google.com/books?id=X_CXXIpfFbgC&q=throbbing+gristle+British+Union+of+Fascists&pg=PA80}}</ref> while the Industrial Records logo was a photo of [[Auschwitz]].<ref>{{cite book |author=Thompson, Dave |title=Alternative Rock |publisher=Hal Leonard Corporation |year=2000 |isbn=978-0-87930-607-6 |page=780 |chapter=Industrial Records |access-date=January 30, 2011 |chapter-url=https://books.google.com/books?id=ZHP-r9-eqdAC&q=throbbing+gristle+logo&pg=PA780}}</ref>

== Background ==

=== 1910s–1960s: Forerunners ===
{{See also|Musique concrète|Noise music|Free improvisation|Italian Futurism}}[[File:Luigi Russolo and assistant Ugo Piatti in their Milan studio with Intonarumori, L’Arte dei rumori (The Art of Noises), 1913.jpg|thumb|[[Luigi Russolo]] and his assistant [[Ugo Piatti]] in their Milan studio in 1913 with the Intonarumori (noise machines)]]
In 1913, [[Italian Futurist]] [[Luigi Russolo]] laid the groundwork for industrial with his manifesto ''[[The Art of Noises]]'' (1913) which aimed to reflect "the sounds of a modern [[industrial society]]".<ref name=":1" /> Around the same time, the utilisation of [[found sound]] as a musical resource was starting to be explored. An early example is ''Parade'', a performance produced at the Chatelet Theatre, Paris, on May 18, 1917, that was conceived by [[Jean Cocteau]], with design by [[Pablo Picasso]], choreography by [[Leonid Massine]], and music by [[Eric Satie]]. The extra-musical materials used in the production were referred to as ''trompe l'oreille'' sounds by Cocteau and included a [[dynamo]], [[Morse code]] machine, sirens, steam engine, airplane motor, and typewriters.<ref name="Chadabe 1996 p=23">{{harvnb|Chadabe|1996|p=23}}</ref> [[Arseny Avraamov]]'s composition ''Symphony of Factory Sirens'' involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, foghorns, artillery guns, machine guns, hydro-airplanes, a specially designed steam-whistle machine creating noisy renderings of ''[[Internationale]]'' and ''[[Marseillaise]]'' for a piece conducted by a team using flags and pistols when performed in the city of [[Baku]] in 1922.<ref>{{Cite web |last=Callanan |first=Martin John |author-link=Martin John Callanan (artist) |title=Sonification of You |url=http://sonification.eu/avraamov |url-status=live |archive-url=https://web.archive.org/web/20081205002508/http://sonification.eu/avraamov |archive-date=2008-12-05 |access-date=2020-07-24}}</ref>

In 1923, [[Arthur Honegger]] created ''[[Pacific 231]]'', a [[modernist]] musical composition that imitates the sound of a steam locomotive.<ref>[[Daniel Albright|Albright, Daniel]] (ed.) ''Modernism and Music: An Anthology of Source''. Chicago: University Of Chicago Press, 2004. p. 386</ref> Another example is [[Ottorino Respighi]]'s 1924 orchestral piece ''[[Pines of Rome]]'', which included the [[phonographic]] playback of a nightingale recording.<ref name="Chadabe 1996 p=23" /> Also in 1924, [[George Antheil]] created a work titled [[Ballet Mécanique]] with instrumentation that included 16 [[Player piano|pianos]], 3 [[Propeller|airplane propellers]], and 7 [[electric bell]]s. The work was originally conceived as music for the [[Dada]] film of the same name, by [[Dudley Murphy]] and [[Fernand Léger]], but in 1926 it premiered independently as a concert piece.<ref>{{Cite web |title=About the Ballet Mécanique |url=http://www.antheil.org/balletmec.html |url-status=dead |archive-url=https://web.archive.org/web/20150509025902fw_/http://www.antheil.org/balletmec.html |archive-date=2015-05-09}}</ref><ref name="Chadabe 1996 pp=23-24">{{harvnb|Chadabe|1996|pp=23–24}}</ref>

In an essay written in 1937, [[John Cage]] expressed an interest in using extra-musical materials<ref name="Griffiths 1995 p=27">{{harvnb|Griffiths|1995|p=27}}</ref> and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and "a truck at fifty miles per hour". Essentially, Cage made no distinction, in his view all sounds have the potential to be used creatively. His aim was to capture and control elements of the sonic environment and employ a method of sound organisation, a term borrowed from Varese, to bring meaning to the sound materials.<ref name="Chadabe 1996 p=26">{{harvnb|Chadabe|1996|p=26}}</ref> Cage began in 1939 to create a series of works that explored his stated aims, the first being ''[[Imaginary Landscape|Imaginary Landscape #1]]'' for instruments including two variable speed turntables with frequency recordings.<ref name="Griffiths 1995 p=20">{{harvnb|Griffiths|1995|p=20}}</ref>

<span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">In 1964, [[John Cale]] recorded the track "Loop" which consisted solely of audio feedback in a [[locked groove]], it was released in 1966 as a single credited to [[the Velvet Underground]]</span><span data-darkreader-inline-color="" data-darkreader-inline-bgcolor="">, who were later noted as influential to industrial music.</span><ref>{{Cite web |title=Uneasy listening {{!}} The Guardian {{!}} guardian.co.uk |url=https://www.theguardian.com/friday_review/story/0,,313518,00.html |access-date=2025-07-27 |website=www.theguardian.com}}</ref> [[AMM (band)|AMM]], formed in 1965, were later retroactively recognized by [[AllMusic]] as precursors to industrial, writing that the "experimentation in sonic assault, noise, and [[Indeterminacy (music)|chance sound]] (including [[transistor radios]])" on their debut album ''AMMMusic'' (1967) would "reach the rock fringes in the work of industrial groups like [[Test Dept]]".<ref>{{cite web |last1=Olewnick |first1=Brian |title=Ammmusic Review by Brian Olewnick |url=https://www.allmusic.com/album/ammmusic-mw0000026381 |access-date=23 August 2022 |website=AllMusic}}</ref> Additionally, [[Cromagnon (band)|Cromagnon]]'s album ''[[Orgasm (Cromagnon album)|Orgasm]]'' (1969) has been cited by ''[[AllMusic]]'s'' Alex Henderson as foreshadowing industrial with the track "Caledonia" resembling "a [[Ministry (band)|Ministry]] or [[Revolting Cocks]] recording from 1989".<ref>{{cite web |last1=Henderson |first1=Alex |title=Orgasm Review by Alex Hederson |url=https://www.allmusic.com/album/orgasm-mw0000619006 |access-date=23 August 2022 |website=AllMusic}}</ref>

Other contemporaneous developments include the work of [[Underground music|underground]] and [[Psychedelic rock|psychedelic]] acts such as [[the Mothers of Invention]], [[John Mills-Cockell|Intersystems]], [[Musica Elettronica Viva]],<ref>[http://www.dramonline.org/albums/mev-40-1967-2007/notes] ''Liner Notes'' for [[Musica Elettronica Viva]] recording set ''MEV 40 (1967–2007)'' 80675-2 (4CDs)</ref><ref>''Spacecraft'' was recorded in Cologne in 1967 by Bryant, Curran, Rzewski, Teitelbaum and Vandor</ref> [[Red Krayola]],<ref name="Staff">{{Cite web |last=Staff |first=BrooklynVegan |title=The 50 best psychedelic rock albums of the Summer of Love |url=https://www.brooklynvegan.com/best-psychedelic-rock-albums-summer-of-love-1967/ |access-date=2025-06-12 |website=BrooklynVegan |language=en-US}}</ref> and [[Fifty Foot Hose]].<ref>{{Cite web |title=Synthedelia: Psychedelic Electronic Music in the 1960s |url=https://daily.redbullmusicacademy.com/2018/05/synthedelia |access-date=2025-09-18 |website=daily.redbullmusicacademy.com |language=en}}</ref> In 1968, [[the Beatles]]' ''[[The Beatles (album)|The White Album]]'' incorporated influences from [[musique concrète]] on track "[[Revolution 9]]", alongside [[George Harrison]]'s ''[[Electronic Sound]]'' and [[John Lennon]]'s avant-garde [[Unfinished Music No. 1: Two Virgins|collaborations]] with [[Yoko Ono]] who had been a part of the [[Fluxus|New York Fluxus]] scene.<ref>from ''[[Rolling Stone]]'' issues # 74 & 75 (21 Jan & 4 Feb, 1971). "John Lennon: The Rolling Stone Interview" by editor [[Jann Wenner]]</ref>

Subsequently, Germany's [[krautrock]] scene would also be recognized as influential, the 1970 album ''[[Klopfzeichen]]'' by [[Kluster]] recorded in 1969 has been retroactively recognized as an early precursor of industrial music,<ref>{{Cite web |title=KLUSTER - Forced Exposure |url=https://www.forcedexposure.com/Artists/KLUSTER.html |access-date=2023-05-02 |website=www.forcedexposure.com}}</ref> alongside the early works of [[kosmische musik]] band [[Cluster (band)|Cluster]], which XLR8 magazine described as having "a profound impact on industrial music’s brainier practitioners".<ref>{{Cite web |last=Segal |first=Dave |date=2007-09-03 |title=What Is It? Krautrock |url=https://xlr8r.com/features/what-is-it-krautrock/ |access-date=2025-07-27 |website=XLR8R |language=en-US}}</ref> Writer Alexei Monroe argues that [[Kraftwerk]] were particularly significant in the development of industrial music, as the "first successful artists to incorporate representations of industrial sounds into nonacademic electronic music."<ref name="monroe">Monroe, p. 212</ref>

Additionally, New York band [[Suicide (band)|Suicide]], formed in 1970, by [[Alan Vega]] and [[Martin Rev]], were retroactively described by ''[[the Guardian]]'' as "equally influential on the industrial music [...] scenes that followed."<ref>{{Cite news |last=Wilde |first=Jon |date=2008-07-31 |title='Every night I thought I'd be killed' |url=https://www.theguardian.com/music/2008/aug/01/popandrock.suicide |access-date=2025-07-28 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref><ref name="monroe" /><ref>{{Cite news |last=Petridis |first=Alexis |date=2016-07-18 |title=Suicide's Alan Vega: a punk pioneer who shoved the streets back in people's faces |url=https://www.theguardian.com/music/2016/jul/18/suicide-alan-vega-punk-pioneer |access-date=2025-07-28 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref><ref>{{Cite web |last=Berman |first=Stuart |date=2016-07-18 |title=15 Songs Indebted to Suicide's Alan Vega |url=https://pitchfork.com/thepitch/1232-15-songs-indebted-to-suicides-alan-vega/ |access-date=2025-07-28 |website=Pitchfork |language=en-US}}</ref> ''[[The New York Times]]'' retroactively described the American [[Avant-garde music|avant-garde]] band [[the Residents]], who formed in 1966, as having "presaged forms of [...] industrial music".<ref>{{cite news |last=Slotnik |first=Daniel E. |date=November 3, 2018 |title=Hardy Fox, of the Avant-Garde Band the Residents (Maybe), Dies at 73 |url=https://www.nytimes.com/2018/11/03/obituaries/hardy-fox-dead.html |access-date=April 27, 2020 |website=[[New York Times]]}}</ref>

=== Influences ===
Early industrial musicians drew influence from [[modernist art]] and [[Modernist literature|literature]]. SPK appreciated [[Jean Dubuffet]], [[Marcel Duchamp]], [[Jean Baudrillard]], [[Michel Foucault]], [[Walter Benjamin]], [[Marshall McLuhan]], [[Friedrich Nietzsche]], and [[Gilles Deleuze]], as well as being inspired by the manifesto of the eponymous [[Socialist Patients' Collective]].<ref>''RE/Search'' #6/7, p. 97–105.</ref> Cabaret Voltaire took conceptual cues from [[William S. Burroughs]], [[J. G. Ballard]], and [[Tristan Tzara]].{{sfn|Reynolds|2005|pp=154–155, 171}} [[Whitehouse (band)|Whitehouse]] and [[Nurse with Wound]] dedicated some of their work to the [[Marquis de Sade]]; the latter also took impetus from the [[Comte de Lautréamont]].{{sfn|Reynolds|2005|p=242}}<ref>{{cite news |last=Reynolds |first=Simon |date=April 7, 2009 |title=Sonic Youth are caught under the influence |url=https://www.theguardian.com/music/musicblog/2009/apr/07/sonic-youth-underground-influences |access-date=October 28, 2009 |work=The Guardian |publisher=Guardian News and Media Limited}}</ref> Artists drew influences from avant-garde and abstract art movements such as [[Dada]], [[Fluxus]], and [[Viennese Actionism]].{{sfn|Reynolds|2005|p=227}}

Subsequently, musicians cited as inspirations include [[the Velvet Underground]], [[Joy Division]], and [[Martin Denny]].<ref>''RE/Search'' #6/7, p. 11–12.</ref> Genesis P-Orridge of Throbbing Gristle had a cassette recording library by [[the Master Musicians of Joujouka]], [[Kraftwerk]], [[Charles Manson]], and William S. Burroughs.<ref>''RE/Search'' #6/7, p. 19.</ref> P-Orridge also credited 1960s rock such as [[the Doors]], [[Pearls Before Swine (band)|Pearls Before Swine]], [[the Fugs]], [[Captain Beefheart]], and [[Frank Zappa]] in a 1979 interview.{{sfn|Reynolds|2005|p=225}} Germany's krautrock scene which included groups like [[Faust (band)|Faust]] and [[Neu!]] was also noted as an influence on industrial artists,<ref>{{cite web |title=Faust |url={{AllMusic|class=artist|id=p17471|pure_url=yes}} |access-date=1 March 2010 |publisher=[[All Media Guide]]}}</ref><ref>{{Cite web |last=says |first=M. |date=2008-04-10 |title=Klaus Dinger : 1946-2008 |url=https://aquariumdrunkard.com/2008/04/10/klaus-dinger-1946-2008/ |access-date=2023-11-26 |website=Aquarium Drunkard |language=en-US}}</ref> alongside John Cage who was an initial inspiration for Throbbing Gristle.{{sfn|Reynolds|2005|p=226}}

[[Chris Carter (British musician)|Chris Carter]] also enjoyed and found inspiration in [[Pink Floyd]] and [[Tangerine Dream]].{{sfn|Reynolds|2005|p=227}} [[Boyd Rice]] was influenced by the music of '60s [[girl groups]] and [[tiki culture]].<ref>''RE/Search'' #6/7, p. 67.</ref> [[Z'EV]] cited Christopher Tree (Spontaneous Sound), [[John Coltrane]], [[Miles Davis]], [[Tim Buckley]], [[Jimi Hendrix]], and Captain Beefheart, among others together with [[Music of Tibet|Tibetan]], [[Music of Bali|Balinese]], [[Music of Indonesia|Javanese]], [[Music of India|Indian]], and [[Music of Africa|African music]] as influential in his artistic life.<ref>''RE/Search'' #6/7, p. 117</ref> Cabaret Voltaire cited [[Roxy Music]] as their initial forerunners, as well as Kraftwerk's ''[[Trans-Europe Express (album)|Trans-Europe Express]]''.{{sfn|Reynolds|2005|pp=154, 159}} Cabaret Voltaire also recorded pieces reminiscent of ''[[musique concrète]]'' and composers such as [[Morton Subotnick]].{{sfn|Reynolds|2005|p=156}} [[Nurse with Wound]] cited [[Nurse with Wound list|a long list]] of [[Underground music|obscure music]] as recommended listening.{{sfn|Reynolds|2005|p=242}} [[23 Skidoo (band)|23 Skidoo]] borrowed from [[Fela Kuti]] and Miles Davis' ''[[On the Corner]]''.{{sfn|Reynolds|2005|p=243}} Many industrial groups, including [[Einstürzende Neubauten]], took inspiration from [[world music]].{{sfn|Reynolds|2005|p=485}}

== History ==

=== Origins: 1970s–1980s ===
{{See also|Industrial Records|}}

The term "industrial music," in the context of an [[Alternative (music)|alternative music]] scene was originally coined by artist [[Monte Cazazza]] in 1976 as ''"Industrial Music for Industrial People,"'' which became the strapline for the record label [[Industrial Records]], founded by Throbbing Gristle.<ref name="Kilpatrick, Nancy 2004, p. 86">[[Nancy Kilpatrick|Kilpatrick, Nancy]]. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: St. Martin's Griffin, 2004, {{ISBN|0-312-30696-2}}, p. 86.</ref><ref name="Industrial Records at Brainwashed" /> The first wave of industrial music music began with Throbbing Gristle, formed in [[Yorkshire]]; [[Cabaret Voltaire (band)|Cabaret Voltaire]], from [[Sheffield]];<ref>''RE/Search'' #6/7, p. 42–49.</ref> and [[Boyd Rice]] (recording under the name [[Non (band)|NON]]), from the United States.<ref>''RE/Search'' #6/7, p. 50–67.</ref> Their production was not limited to music, but included [[mail art]], [[performance art]], [[Installation art|installation pieces]] and other art forms.{{sfn|Vale & Juno|1983}}

Throbbing Gristle first performed in 1976,{{sfn|Reynolds|2005|p=224}} and began as the musical offshoot of the [[Kingston upon Hull]]-based [[COUM Transmissions]].<ref name="research pg17">''RE/Search'' #6/7, p. 17.</ref> COUM was initially a [[psychedelic rock]] group, but began to describe their work as [[performance art]] in order to obtain grants from the [[Arts Council of Great Britain]].{{sfn|Reynolds|2005|p=226}} COUM was composed of P-Orridge and [[Cosey Fanni Tutti]].{{sfn|Reynolds|2005|p=226}} Beginning in 1972, COUM staged several performances inspired by [[Fluxus]] and [[Viennese Actionism]]. These included various acts of sexual and physical abjection.{{sfn|Reynolds|2005|p=227}} [[Peter Christopherson]], an employee of commercial artists [[Hipgnosis]], joined the group in 1974, with Carter joining the following year.<ref name="research pg17" /> The group renamed itself Throbbing Gristle in September 1975, their name coming from a northern English slang word for an erection.<ref name="research pg17" /> The group's first public performance, in October 1976, was alongside an exhibit titled ''Prostitution'', which included pornographic photos of Tutti as well as used tampons. Conservative politician [[Nicholas Fairbairn]] declared that "public money is being wasted here to destroy the morality of our society" and blasted the group as "wreckers of civilization."{{sfn|Reynolds|2005|p=229}}{{sfn|Reynolds|2005|p=240}}

By the late 1970s, industrial music acts such as [[Clock DVA]],<ref>{{cite web |url={{AllMusic|class=artist|id=p3923/biography|pure_url=yes}} |title=Clock DVA Biography |last=Ankeny |first=Jason |work=AllMusic |publisher=Rovi Corporation |access-date=October 28, 2009}}</ref> [[Nocturnal Emissions]],<ref>{{cite web|url={{AllMusic|class=artist|id=p19609|pure_url=yes}}|title=Nocturnal Emissions Biography|last=Torreano|first=Bradley|work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> [[Whitehouse (band)|Whitehouse]],<ref>{{cite web|url={{AllMusic|class=artist|id=p21413|pure_url=yes}}|title=Whitehouse Biography | last=Schaefer | first=Peter |work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> [[Nurse with Wound]],{{sfn|Reynolds|2005|p=241}} and [[SPK (band)|SPK]]<ref>''RE/Search'' #6/7, pp. 92–105.</ref> soon followed. Whitehouse intended to play "the most brutal and extreme music of all time", a style they eventually called [[power electronics (music)|power electronics]].{{sfn|Reynolds|2005|p=240}} An early collaborator with Whitehouse, Steve Stapleton, formed Nurse with Wound, who experimented with noise sculpture and sound collage.{{sfn|Reynolds|2005|pp=241–242}} Clock DVA described their goal as borrowing equally from [[surrealist automatism]] and "nervous energy sort of funk stuff, body music that flinches you and makes you move."{{sfn|Reynolds|2005|p=243}} 23 Skidoo, like Clock DVA, merged industrial music with African-American dance music, but also performed a response to world music. Performing at the first [[WOMAD Festival]] in 1982, the group likened themselves to Indonesian [[gamelan]].{{sfn|Reynolds|2005|pp=243–244}} Swedish act [[Leather Nun]] were signed to Industrial Records in 1978, being the first non-TG/Cazazza act to have an IR-release.<ref name="Industrial Records at Brainwashed">{{cite web |url=http://www.brainwashed.com/tg/industrial.html |title=Industrial Records |publisher=[[Brainwashed (website)|Brainwashed]] |access-date=October 28, 2009}}</ref> Their singles eventually received significant airplay in the United States on [[college radio]].<ref>{{cite web|url={{AllMusic|class=artist|id=p18847/biography|pure_url=yes}}|title=Leather Nun Biography | last=Sutton | first=Michael | work=AllMusic | publisher=Rovi Corporation|access-date=October 28, 2009}}</ref>
[[Image:Industrialculturehandbook.jpg|thumb|left|upright|''[[Industrial Culture Handbook]]'' reference guide to the philosophy and interests of a flexible alliance of "deviant" artists<ref>''RE/Search'' #6/7, p. 2.</ref>]]

Across the Atlantic, similar experiments were taking place. In San Francisco, performance artist [[Monte Cazazza]] began recording [[noise music]].<ref>''RE/Search'' #6/7, pp. 68–81.</ref> Boyd Rice released several albums of noise, with guitar drones and tape loops creating a cacophony of repetitive sounds.<ref>''RE/Search'' #6/7, pp. 50–67.</ref> In Boston, [[Sleep Chamber]] and other artists from [[Inner-X-Musick]] began experimenting with a mixture of powerful noise and early forms of [[Electronic body music|EBM]]. In Italy, work by [[Maurizio Bianchi]] at the beginning of the 1980s also shared this aesthetic.<ref>{{cite web|url={{AllMusic|class=artist|id=p56542|pure_url=yes}}|title=Maurizio Bianchi Biography|last=Torreano|first=Bradley|work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> In Germany, Einstürzende Neubauten mixed metal percussion, guitars, and unconventional instruments (such as [[jackhammer]]s and bones) in stage performances that often damaged the venues in which they played.<ref>{{cite web|url={{AllMusic|class=artist|id=p4174/biography|pure_url=yes}}|title=Einstürzende Neubauten Biography|last=Huey|first=Steve|work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> [[Blixa Bargeld]], inspired by [[Antonin Artaud]] and an enthusiasm for [[amphetamines]], also originated an art movement called Die Genialen Dilettanten.{{sfn|Reynolds|2005|p=484}} Bargeld is particularly well known for his hissing scream.{{sfn|Reynolds|2005|p=484}}

In January 1984, Einstürzende Neubauten performed a ''Concerto for Voice and Machinery'' at the [[Institute of Contemporary Arts]] (the same site as COUM's ''Prostitution'' exhibition), drilling through the floor and eventually sparking a riot.{{sfn|Reynolds|2005|p=486}} This event received front-page news coverage in England.{{sfn|Reynolds|2005|p=486}} Other groups who practiced a form of industrial "metal music" (that is, produced by the sounds of metal crashing against metal) include [[Test Dept]],<ref name="Test Dept at AllMusic">{{cite web|url={{AllMusic|class=artist|id=p5621|pure_url=yes}}|title=Test Dept. Biography|last=Bush|first=John|work=AllMusic|publisher=Rovi Corporation|access-date=October 27, 2009}}</ref> [[Laibach (band)|Laibach]],<ref>Monroe, p. 222.</ref> and [[Die Krupps]], as well as Z'EV and SPK.{{sfn|Reynolds|2005|p=485}} Test Dept were largely inspired by [[Russian Futurism]] and toured to support the [[UK miners' strike (1984–1985)|1984-85 UK miners' strike]].{{sfn|Reynolds|2005|p=489}} [[Skinny Puppy]] embraced a variety of industrial forefathers and created a lurching, impalatable whole from many pieces. [[Swans (band)|Swans]], from New York City, also practiced a metal music aesthetic, though reliant on standard rock instrumentation.{{sfn|Reynolds|2005|p=487}} Laibach, a [[Slovenia]]n group who began while [[Socialist Federal Republic of Yugoslavia|Yugoslavia]] remained a single state, were very controversial for their iconographic borrowings from [[Stalinism|Stalinist]], [[Nazi]], [[Titoist]], [[Dada]], and Russian Futurist imagery, conflating Yugoslav patriotism with its German authoritarian adversary.<ref>Monroe, p. 96.</ref> [[Slavoj Žižek]] has defended Laibach, arguing that they and their associated [[Neue Slowenische Kunst]] art group practice an overidentification with the hidden perverse enjoyment undergirding authority that produces a subversive and liberatory effect.<ref>Slavoj Žižek, [http://xenopraxis.net/readings/zizek_laibach.pdf "Why Are Laibach and NSK Not Fascists?,"] ''M'ARS'' 3–4, 1993, pp. 3–4.</ref> In simpler language, Laibach practiced a type of agitprop that was widely utilized by industrial and punk artists on both sides of the Atlantic.

Following the breakup of Throbbing Gristle, P-Orridge and Christopherson founded [[Psychic TV]] and signed to a major label.{{sfn|Reynolds|2005|p=474}} Their first album was much more accessible and melodic than the usual industrial style, and included hired work by trained musicians.{{sfn|Reynolds|2005|pp=474–475}} Later work returned to the sound collage and noise elements of earlier industrial.{{sfn|Reynolds|2005|pp=480–481}} They also borrowed from funk and [[disco]]. P-Orridge also founded [[Thee Temple ov Psychick Youth]], a quasi-religious organization that produced [[video art]].{{sfn|Reynolds|2005|p=476}} Psychic TV's commercial aspirations were managed by Stevo of [[Some Bizzare Records]], who released many of the later industrial musicians, including Einstürzende Neubauten, Test Dept, and Cabaret Voltaire.{{sfn|Reynolds|2005|p=477}}

Around 1983, Cabaret Voltaire members were deeply interested in funk music and, with the encouragement of their friends from [[New Order (band)|New Order]], began to develop a form of dark but danceable [[electrofunk]].{{sfn|Reynolds|2005|p=478}} Christopherson left Psychic TV in 1983 and formed [[Coil (band)|Coil]] with [[John Balance]]. Coil made use of gongs and bullroarers in an attempt to conjure "Martian," "homosexual energy".{{sfn|Reynolds|2005|pp=481–482}} [[David Tibet]], a friend of Coil's, formed [[Current 93]], alongside [[Douglas P.]] of [[Death In June]], [[Steven Stapleton]] and Fritz Catlin of [[23 Skidoo (band)|23 Skidoo]]; both Coil and Current 93 were inspired by amphetamines and LSD.{{sfn|Reynolds|2005|p=482}} [[J. G. Thirlwell]], a co-producer with Coil, developed a version of [[black comedy]] in industrial music, borrowing from [[lounge music|lounge]] as well as noise and [[film music]].{{sfn|Reynolds|2005|p=483}} In the early 1980s, the Chicago-based record label [[Wax Trax!]] and Canada's [[Nettwerk]] helped to expand the industrial music genre into the more accessible [[electro-industrial]] and [[industrial rock]] genres.<ref name="Kilpatrick, Nancy 2004, p. 86"/>

=== Late 1980s–1990s ===

==== Proliferation ====
{{Main|Post-industrial music}}

[[File:FrontLineAssembly.jpg|thumb|190px|Electro-industrial group [[Front Line Assembly]]|left]]

Following the disbanding of Throbbing Gristle in the 1980s, industrial music splintered into a range of offshoots collectively labelled "[[post-industrial music]]".<ref name=":2">Partridge, Christopher; Moberg, Marcus: ''Industrial, Post-industrial and Neofolk music'', The Bloomsbury Handbook of Popular Music, Bloomsbury Academic 2017, {{ISBN|1-474-23733-9}}, 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'."''</ref> While the original industrial sound was rooted in avant-garde and experimental music, post-industrial offered more accessible and diverse offshoots, with the incorporation of traditional pop songwriting, and influences from a variety of genres. Artists incorporated influences from [[new wave music|new wave]], [[Rock music|rock]], [[Pop music|pop]], [[Heavy metal music|heavy metal]], [[hip hop music|hip hop]], [[jazz]], [[disco]], [[reggae]], [[ambient music]], [[folk music]], [[post-punk]], [[electronic dance music|EDM]], and [[new age music]].<ref name="Woods 43">{{cite magazine |last=Woods |first=Karen |date=March 1992 |title=Industrial Index |url=https://books.google.com/books?id=3_7wN22l43MC&pg=PT42 |magazine=[[Spin (magazine)|Spin]] |page=43 |volume=7 |issue=12}}</ref><ref name=":2" />{{multiple image
| align = right
| image1 = Hellfest2017Ministry 05.jpg
| width1 = 150
| image2 = Trent-Reznor 2009.jpg
| width2 = 130
| footer = [[Ministry (band)|Ministry]]'s [[Al Jourgensen]] and [[Nine Inch Nails]]' [[Trent Reznor]]}}Chicago record label [[Wax Trax! Records]] was prominent in the widespread attention industrial music later received. The label was started by Jim Nash and Dannie Flesher, and became a central hub for the emerging [[industrial rock]] genre during the late 1980s to early 1990s. Wax Trax! released albums by artists such as [[Front 242]], [[Front Line Assembly]], [[KMFDM]], and [[Sister Machine Gun]].<ref name="Wyman">{{cite web |last=Wyman |first=Bill |date=12 August 1993 |title=Wax Trax Redux/Chart Watch |url=https://www.chicagoreader.com/chicago/wax-trax-reduxchart-watch/Content?oid=882542 |access-date=21 March 2020 |website=chicagoreader.com |publisher=[[Chicago Reader]]}}</ref><ref name="Narvaja">{{cite web |last=Narvaja |first=Norm |date=10 April 2019 |title=Ministry, Cold Cave to Tour Behind Wax Trax! Documentary |url=https://www.altpress.com/features/wax-trax-documentary-record-store-day-interview/ |access-date=21 March 2020 |website=altpress.com |publisher=[[Alternative Press (magazine)|Alternative Press]]}}</ref> Subsequent post-industrial styles included [[dark ambient]], [[Power electronics (music)|power electronics]], [[power noise]], [[Japanoise]], industrial rock, [[neofolk]], [[electro-industrial]], [[EBM music|EBM]], [[industrial hip hop]], [[industrial metal]], [[industrial pop]], [[martial industrial]], and [[futurepop]].<ref name=":2" />

=== 1990s–2000s ===

==== Mainstream success ====
{{multiple image
| align             = right
| image1            = Marilyn_Manson_Live_in_Roma_25_july_2017-_44_(cropped).jpg
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| image3            = 14-06-08_RiP_Rob_Zombie_4.JPG
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| footer            = [[Marilyn Manson]] and [[Marilyn Manson (band)|his band]], and [[Rob Zombie]] prominently used elements associated with industrial music in their albums.
}}

In the 1990s, industrial music broke into the mainstream. The genre, previously ignored or criticized by music journalists, grew popular with disaffected middle-class youth in suburban and rural areas.  By this time, the genre had become broad enough that journalist [[James Greer (writer)|James Greer]] called it "the kind of meaningless catch-all term that new wave once was".<ref name=spin>{{cite magazine|url=https://books.google.com/books?id=3_7wN22l43MC&pg=PT42|title=Nine Inches of Love|last=Greer|first=Jim|author-link=James Greer (writer)|magazine=[[Spin (magazine)|Spin]]|date=March 1992|volume=7|issue=12|pages=36–43}}</ref> A number of acts associated with industrial music achieved commercial success during this period including [[Nine Inch Nails]], [[Marilyn Manson (band)|Marilyn Manson]], [[Rammstein]] and [[Orgy (band)|Orgy]].

Through the 1990s, Nine Inch Nails and Marilyn Manson had several albums and EPs certified platinum by the [[Recording Industry Association of America|Recording Industry Association of America (RIAA)]], including Nine Inch Nails' ''[[Broken (Nine Inch Nails EP)|Broken]]'' (1992),{{Certification Cite Ref|title=Broken|artist=Nine Inch Nails|region=United States|type=album}} ''[[The Downward Spiral]]'' (1994){{Certification Cite Ref|title=The Downward Spiral|artist=Nine Inch Nails|type=album|region=United States}} and ''[[The Fragile (Nine Inch Nails album)|The Fragile]]'' (1999){{Certification Cite Ref|title=The Fragile|artist=Nine Inch Nails|type=album|region=United States}}, and Marilyn Manson's ''[[Antichrist Superstar]]'' (1996){{Certification Cite Ref|title=Antichrist Superstar|artist=Marilyn Manson|type=album|region=United States}} and ''[[Mechanical Animals]]'' (1998).{{Certification Cite Ref|title=Mechanical Animals|artist=Marilyn Manson|type=album|region=United States}}

== Related genres ==
{{See also|List of industrial music genres}}

=== Post-Industrial ===
{{Infobox music genre
| name              = Post-Industrial
| stylistic_origins = * [[Post-industrial music|Industrial]]
* [[post-punk]]
* [[New wave music|new wave]]
* [[Pop music|pop]]
* [[Heavy metal music|metal]]
* [[New-age music|new age]]
* [[Hip hop music|hip hop]]
* [[ambient music]]
* [[folk music]]
* [[Electronic dance music|EDM]]
* [[funk]]
* [[jazz]]
* [[disco]]
* [[reggae]]
* [[rock music|rock]]
| cultural_origins  = 1980s; United Kingdom and United States
| instruments       = 
| derivatives       = * [[Neofolk]]
* [[futurepop]]
* [[Neue Deutsche Härte]]
* [[new beat]]
* [[hard beat]]
* [[Witch house (genre)|witch house]]
* [[deconstructed club]]
| subgenrelist      = 
| subgenres         = {{hlist|[[Dark ambient]]|[[power noise]]|[[electro-industrial]]|[[Electronic body music|EBM]]|[[martial industrial]]|[[dark electro]]|[[aggrotech]]|[[cyber metal]]|[[isolationism (music)|isolationism]]|[[techstep]]|[[neurofunk]]}}
| fusiongenres      = {{hlist|[[Industrial rock]]|[[industrial hip hop]]|[[industrial metal]]|[[industrial pop]]|[[industrial dance]]|[[industrial techno]]}}
| regional_scenes   = 
| local_scenes      = 
| other_topics      = [[Japanoise]]
}}

'''Post-Industrial''' is a [[subgenre]] of industrial music that originally emerged in the early 1980s, as a catch-all for several industrial music inspired styles, subgenres and fusions that followed the disbanding of Throbbing Gristle. While the original industrial sound was rooted in [[Avant-garde music|avant-garde]] and [[experimental music]], post-industrial offered more accessible, commercial and diverse offshoots, with the incorporation of traditional pop songwriting, and influences from a variety of genres, which later led to the mainstreaming of several popular acts during the 1990s. Artists incorporated influences from [[New wave music|new wave]], [[Rock music|rock]], [[Pop music|pop]], [[Heavy metal music|heavy metal]], [[Hip hop music|hip hop]], [[jazz]], [[funk]], [[disco]], [[reggae]], [[ambient music]], [[folk music]], [[post-punk]], [[Electronic dance music|EDM]], and [[new age music]].<ref name="Woods 43"/><ref name=":22">Partridge, Christopher; Moberg, Marcus: ''Industrial, Post-industrial and Neofolk music'', The Bloomsbury Handbook of Popular Music, Bloomsbury Academic 2017, {{ISBN|1-474-23733-9}}, 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'."''</ref>

Chicago record label [[Wax Trax! Records]] was prominent in the widespread attention industrial music later received. The label was started by Jim Nash and Dannie Flesher, and became a central hub for the emerging [[industrial rock]] genre during the late 1980s to early 1990s. Wax Trax! released albums by artists such as [[Front 242]], [[Front Line Assembly]], [[KMFDM]], and [[Sister Machine Gun]].<ref name="Wyman"/><ref name="Narvaja"/> Another prominent label was Canada's [[Nettwerk Music Group|Nettwerk]] which signed [[Skinny Puppy]]. Notable post-industrial styles included [[dark ambient]], [[power noise]], industrial rock, [[neofolk]], [[electro-industrial]], [[EBM music|EBM]], [[industrial hip hop]], [[industrial metal]], [[industrial pop]], [[martial industrial]], and [[futurepop]].<ref name=":22" />

=== Power electronics ===
'''Power electronics''' was originally coined by [[William Bennett (noise musician)|William Bennett]] of British [[Noise music|noise]] act [[Whitehouse (band)|Whitehouse]].<ref name="whitehouseamg">{{Cite web |last=Schaefer |first=Peter |title=Whitehouse — Biography |url={{AllMusic|class = artist|id = mn0000820195/biography|pure_url =yes}} |access-date=2017-09-16 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref> 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.<ref>{{cite web |author=Emily Benjamin |date=2006-02-14 |title=Whitehouse Asceticists Susan Lawly |url=http://media.www.jhunewsletter.com/media/storage/paper932/news/2006/03/31/Arts/Whitehouse.Asceticists.Susan.Lawly-2242044.shtml |archive-url=https://web.archive.org/web/20090405170858/http://media.www.jhunewsletter.com/media/storage/paper932/news/2006/03/31/Arts/Whitehouse.Asceticists.Susan.Lawly-2242044.shtml |archive-date=2009-04-05 |access-date=2017-09-16 |work=The Johns Hopkins News-Letter |df=mdy-all}}</ref><ref>{{cite web |author=Creaig Dunton |date=2009-03-29 |title=Kevin Tomkins, "Perfectly Flawed" |url=http://brainwashed.com/index.php?option=com_content&task=view&id=7474&Itemid=1 |access-date=2017-09-16 |work=[[Brainwashed (website)|Brainwashed]] |df=mdy-all}}</ref> [[Death industrial]] is a subgenre of power electronics associated with groups such as The Grey Wolves,<ref>{{Cite web |last=Westerhouse |first=Andrew |date=2003-04-30 |title=Review: v/a "Transmissions of Hatred" compilation CD |url=https://www.aversionline.com/view/v-a-transmissions-of-hatred-compilation-cd |access-date=2017-09-16 |website=Aversion Online |df=mdy-all}}</ref> but the term first referred to artists such as [[Brighter Death Now]].<ref name="bdn">{{cite web |title=Heathen Harvest - Reviews: Brighter Death Now - Necrose Evangelicum (Reissue) |url=http://www.heathenharvest.com/article.php?story=20080830064736321 |url-status=dead |archive-url=https://web.archive.org/web/20110526210216/http://www.heathenharvest.com/article.php?story=20080830064736321 |archive-date=2011-05-26 |access-date=2009-03-16 |website=[[Heathen Harvest]]}} Access date: March 17, 2009.</ref> The Swedish label [[Cold Meat Industry]] issued the releases in this subgenre.<ref name="bdn" />

==See also==
*''[[Assimilate: A Critical History of Industrial Music]]''
*[[Cassette culture]]
*[[Rivethead]]
*[[List of industrial music festivals]]
*[[List of industrial music bands]]
*[[List of industrial music genres]]

==Footnotes==
{{reflist}}

==References==
{{Refbegin}}
* {{Cite book|first = Simon|last = Ford|title = Wreckers of Civilization|publisher = London: Black Dog Publishing|year = 1999|isbn = 1-901033-60-0|author-link = Simon Ford|oclc=473269351}}
* {{Cite book|last = Monroe|first = Alexei|title = Interrogation Machine: Laibach and NSK|publisher = Cambridge: The MIT Press|year = 2005|isbn = 0-262-63315-9|ref = Monroe|url-access = registration|url = https://archive.org/details/interrogationmac0000monr|oclc=1150047415|via=the Internet Archive}}
* {{cite journal|last1=Hanley|first1=Jason J.|date=Spring 2004|title='The Land of Rape and Honey': The Use of World War II Propaganda in the Music Videos of Ministry and Laibach|journal=American Music|volume=22|issue=1|pages=158–75|jstor=3592974|doi=10.2307/3592974}}
* {{cite book|last1=Reed|first1=S. Alexander|title=Assimilate: A Critical History of Industrial Music|year=2013|location=New York|publisher=Oxford University Press|isbn=9780199832606|oclc=1147729910|via=the Internet Archive|url-access=registration|url=https://archive.org/details/assimilatecritic0000reed}}
* {{cite book|last=Reynolds|first=Simon|author-link=Simon Reynolds|title=Rip It Up and Start Again: Postpunk 1978–1984|url=https://archive.org/details/ripitupstartagai00reyn|url-access=registration|publisher=Faber and Faber|location=London|year=2005|isbn=0571215696|oclc=1036851652|via=the Internet Archive}}
* {{cite book |editor1-last=Vale |editor1-first=V. |editor2-last=Juno |editor2-first=Andrea |year=1983 |title=Re/Search #6/7: Industrial Culture Handbook|url=https://archive.org/details/ReSearchIndustrialCultureHandbook |location=San Francisco, CA|publisher=RE/Search Publications|isbn=0-940642-07-7|via=the Internet Archive}}
* Ballet, Nicolas. (2023) ''Shock Factory: Culture visuelle des musiques industrielles (1969-1995)'' Les presses du réel, Music & Sound Arts, ISBN 978-2-37896-222-7
{{Refend}}

{{Industrial music-footer}}
{{Electronica}}
{{Avant-garde}}
{{Experimental music genres}}
{{punk rock}}
{{Authority control}}

{{Good article}}

[[Category:Industrial music| ]]
[[Category:Electronic music genres]]
[[Category:American styles of music]]
[[Category:British styles of music]]
[[Category:German styles of music]]
[[Category:Cassette culture 1970s–1990s]]