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Industrial music

January 12, 2023

Not to be confused with Industrial musical.

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 (tape music, musique concrète, white noise, synthesizers, sequencers, etc.) and punk provocation".[2] 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.

The first industrial artists experimented with noise and aesthetically controversial topics, musically and visually, such as fascism, sexual perversion, and the occult. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, and Z'EV.[3] On Throbbing Gristle's 1977 debut album The Second Annual Report, they coined the slogan "industrial music for industrial people". Industrial music scenes also developed in San Francisco and Chicago. The precursors that influenced the development of the genre included 1940s musique concrète and varied world music sources in addition to rock-era acts such as Faust, Kraftwerk, the Velvet Underground, and Lou Reed's Metal Machine Music (1975). Musicians also cite writers such as William S. Burroughs and J. G. Ballard, and artists such as Brion Gysin, as influences.

While the term was self-applied by a small coterie of groups and individuals associated with Industrial Records in the late 1970s, it was broadened to include artists influenced by the original movement or using an "industrial" aesthetic.[4] Over time, the genre's influence spread into and blended with styles including ambient, synth music and rock such as Front 242, Front Line Assembly, KMFDM, and Sister Machine Gun, acts associated with the Chicago-based Wax Trax! Records imprint. Electro-industrial music is a primary subgenre that developed in the 1980s, with the most notable bands in the genre being Front Line Assembly and Skinny Puppy. The two other most notable hybrid genres are industrial rock and industrial metal, which include bands such as Nine Inch Nails, Ministry, Rammstein, and Fear Factory, the first three of which released platinum-selling albums in the 1990s.

History

Precursors

Industrial music drew from a broad range of predecessors. According to the Oxford English Dictionary, the genre was first named in 1942 when The Musical Quarterly called Dmitri Shostakovich's 1927 Symphony No. 2 "the high tide of 'industrial music'."[5] Similarly, in 1972 The New York Times described works by Ferde Grofé (especially 1935's A Symphony in Steel) as a part of "his 'industrial music' genre [that] called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatric drill and a compressed-air tank".[6] 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. Early examples of industrial music are arguably found in Pierre Schaeffer's 1940s musique concrète and the tape music of Halim El-Dabh, the former of which is akin to the aesthetics of 1970s industrial music, while artists such as early 20th century Italian futurist Luigi Russolo laid the groundwork for the genre with his book and work The Art of Noises reflecting "the sounds of a modern industrial society".[7]

Brian Olenwick of AllMusic stated the 1960s English experimental group AMM as originators of the genre, as well as to electronica, free improvisation and noise music, writing that the "experimentation in sonic assault, noise, and 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".[8] Pitchfork attributes the Red Krayola as "the primary oracle for a generation of art punks, industrial savants, and new-wave scientists",[9] with the 1967 record The Parable of Arable Land being called a "precursor to industrial rock" by AllMusic's Ritchie Unterberger,[10] and their 1968 follow-up God Bless the Red Krayola and All Who Sail With It being dubbed "bootleg Einstürzende Neubauten at its grimiest atonality" by Pitchfork's Alex Lindhardt.[11] Cromagnon's album Orgasm (1969) has been cited by AllMusic's Alex Henderson as foreshadowing industrial, noise rock and no wave, with the track "Caledonia" resembling "a Ministry or Revolting Cocks recording from 1989".[12]

 
Frank Zappa and Captain Beefheart in 1975, cited as inspirations by Herman Taylor

In the book Interrogation Machine: Laibach and NSK, 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."[13] Industrial music was created originally by using mechanical and electric machinery, and later advanced synthesizers, samplers and electronic percussion as the technology developed. Monroe also argues for Suicide as an influential contemporary of the industrial musicians.[13] Groups cited as inspirational by the founders of industrial music include the Velvet Underground, Joy Division, and Martin Denny.[14] Genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Kraftwerk, Charles Manson, and William S. Burroughs.[15] P-Orridge also credited 1960s rock such as the Doors, Pearls Before Swine, the Fugs, Captain Beefheart, and Frank Zappa in a 1979 interview.[16] The dissonant electronic work of krautrock group Faust was an influence on industrial artists.[17]

Chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream.[18] Boyd Rice was influenced by the music of '60s girl groups and tiki culture.[19] Z'EV cited Christopher Tree (Spontaneous Sound), John Coltrane, Miles Davis, Tim Buckley, Jimi Hendrix, and Captain Beefheart, among others together with Tibetan, Balinese, Javanese, Indian, and African music as influential in his artistic life.[20] Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerk's Trans-Europe Express.[21] Cabaret Voltaire also recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick.[22] Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening.[23] 23 Skidoo borrowed from Fela Kuti and Miles Davis's On the Corner.[24] Many industrial groups, including Einstürzende Neubauten, took inspiration from world music.[25]

Many of the initial industrial musicians preferred to cite artists or thinkers, rather than musicians, as their inspiration. Simon Reynolds declares that "Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism."[26] John Cage was an initial inspiration for Throbbing Gristle.[27] 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.[28] Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, and Tristan Tzara.[29] 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.[23]

Another influence on the industrial aesthetic was Lou Reed's Metal Machine Music. Pitchfork Music cites this album as "inspiring, in part, much of the contemporary avant-garde music scene—noise, in particular."[30] The album consists entirely of guitar feedback, anticipating industrial's use of non-musical sounds.[original research?] The New York Times described American avant-garde band the Residents as having "presaged forms of punk, new wave and industrial music".[31]

Industrial Records

Industrial Music for Industrial People was originally coined by Monte Cazazza[32] as the strapline for the record label Industrial Records, founded by British art-provocateurs Throbbing Gristle.[33] The first wave of this music appeared with Throbbing Gristle, from London; Cabaret Voltaire, from Sheffield;[34] and Boyd Rice (recording under the name NON), from the United States.[35] Throbbing Gristle first performed in 1976,[36] and began as the musical offshoot of the Kingston upon Hull-based COUM Transmissions.[37] 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.[27] COUM was composed of P-Orridge and Cosey Fanni Tutti.[27] Beginning in 1972, COUM staged several performances inspired by Fluxus and Viennese Actionism. These included various acts of sexual and physical abjection.[18] Peter Christopherson, an employee of commercial artists Hipgnosis, joined the group in 1974, with Carter joining the following year.[37]

The group renamed itself Throbbing Gristle in September 1975, their name coming from a northern English slang word for an erection.[37] 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."[38] The group announced their dissolution in 1981, declaring that their "mission" has been "terminated."[39]

Wax Trax! Records

Main article: Wax Trax! Records

Chicago record label Wax Trax! Records was prominent in the widespread attention industrial music received starting in the early 1980s. The label was started by Jim Nash and Dannie Flesher. The label's first official release was an EP in 1980 entitled Immediate Action by Strike Under. The label went on to distribute some of the most prominent names in industrial throughout the 1980s and 1990s. Wax Trax! also distributed industrial releases in the United States for the Belgium record label Play It Again Sam Records, and had opened a North American office dubbed Play It Again Sam U.S.A. as a division of Wax Trax!. Wax Trax! was subsequently purchased by TVT Records in 1992 who closed the independent Chicago label in 2001. Jim's Daughter, Julia Nash, resurrected Wax Trax! Records in 2011 with a 3-day charity event titled Wax Trax! Retrospectacle - 33 1/3 Year Anniversary. Julia officially released new material in 2014 under the Wax Trax! imprint and continues to run the record label from Chicago.

Expansion of the scene

The bands Clock DVA,[40] Nocturnal Emissions,[41] Whitehouse,[42] Nurse with Wound,[43] and SPK[44] soon followed. Whitehouse intended to play "the most brutal and extreme music of all time", a style they eventually called power electronics.[39] An early collaborator with Whitehouse, Steve Stapleton, formed Nurse with Wound, who experimented with noise sculpture and sound collage.[45] 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."[24] 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.[46] Swedish act Leather Nun were signed to Industrial Records in 1978, being the first non-TG/Cazazza act to have an IR-release.[32] Their singles eventually received significant airplay in the United States on college radio.[47]

 
Industrial Culture Handbook reference guide to the philosophy and interests of a flexible alliance of "deviant" artists[48]

Across the Atlantic, similar experiments were taking place. In San Francisco, performance artist Monte Cazazza began recording noise music.[49] Boyd Rice released several albums of noise, with guitar drones and tape loops creating a cacophony of repetitive sounds.[50] In Boston, Sleep Chamber and other artists from Inner-X-Musick began experimenting with a mixture of powerful noise and early forms of EBM. In Italy, work by Maurizio Bianchi at the beginning of the 1980s also shared this aesthetic.[51] In Germany, Einstürzende Neubauten mixed metal percussion, guitars, and unconventional instruments (such as jackhammers and bones) in stage performances that often damaged the venues in which they played.[52] Blixa Bargeld, inspired by Antonin Artaud and an enthusiasm for amphetamines, also originated an art movement called Die Genialen Dilettanten.[53] Bargeld is particularly well known for his hissing scream.[53]

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.[54] This event received front-page news coverage in England.[54] Other groups who practiced a form of industrial "metal music" (that is, produced by the sounds of metal crashing against metal) include Test Dept,[55] Laibach,[56] and Die Krupps, as well as Z'EV and SPK.[25] Test Dept were largely inspired by Russian Futurism and toured to support the 1984-85 UK miners' strike.[57] Skinny Puppy embraced a variety of industrial forefathers and created a lurching, impalatable whole from many pieces. Swans, from New York City, also practiced a metal music aesthetic, though reliant on standard rock instrumentation.[58] Laibach, a Slovenian group who began while Yugoslavia remained a single state, were very controversial for their iconographic borrowings from Stalinist, Nazi, Titoist, Dada, and Russian Futurist imagery, conflating Yugoslav patriotism with its German authoritarian adversary.[59] 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.[60] 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.[61] Their first album was much more accessible and melodic than the usual industrial style, and included hired work by trained musicians.[62] Later work returned to the sound collage and noise elements of earlier industrial.[63] They also borrowed from funk and disco. P-Orridge also founded Thee Temple ov Psychick Youth, a quasi-religious organization that produced video art.[64] 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.[65]

Around 1983, Cabaret Voltaire members were deeply interested in funk music and, with the encouragement of their friends from New Order, began to develop a form of dark but danceable electrofunk.[66] Christopherson left Psychic TV in 1983 and formed Coil with John Balance. Coil made use of gongs and bullroarers in an attempt to conjur "Martian," "homosexual energy".[67] David Tibet, a friend of Coil's, formed Current 93; both groups were inspired by amphetamines and LSD.[68] J. G. Thirlwell, a co-producer with Coil, developed a version of black comedy in industrial music, borrowing from lounge as well as noise and film music.[69] 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.[33]

Characteristics and history

The birth of industrial music was a response to "an age [in which] the access and control of information were becoming the primary tools of power."[70] At its birth, the genre of industrial music was different from any other music, and its use of technology and disturbing lyrics and themes to tear apart preconceptions about the necessary rules of musical form supports the suggestion that industrial music is modernist music.[70] The artists themselves made these goals explicit, even drawing connections to social changes they wished to argue for through their music.

The Industrial Records website explains that the musicians wanted to re-invent rock music, and that their uncensored records were about their relationship with the world.[71] They go on to say that they wanted their music to be an awakening for listeners so that they would begin to think for themselves and question the world around them. Industrial Records intended the term industrial to evoke the idea of music created for a new generation, with previous music being more agricultural: P-Orridge stated that "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 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 times—you know, the Industrial Revolution".[72]

 
William S. Burroughs, a conceptual inspiration for the industrial musicians

Early industrial music often featured tape editing, stark percussion and loops distorted to the point where they had degraded to harsh noise, such as the work of early industrial group Cabaret Voltaire, which journalist Simon Reynolds described as characterized by "hissing high hats and squelchy snares of rhythm-generator."[73] Carter of Throbbing Gristle invented a device named the "Gristle-izer", played by Christopherson, which comprised a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds.[74]

Traditional instruments were often played in nontraditional or highly modified ways. Reynolds described the Cabaret Voltaire members' individual contributions as "[Chris] Watson's smears of synth slime; [Stephen] Mallinder's dankly pulsing bass; and [Richard H.] Kirk's spikes of shattered-glass guitar."[73] Watson custom-built a fuzzbox for Kirk's guitar, producing a unique timbre.[75] Carter built speakers, effects units, and synthesizer modules, as well as modifying more conventional rock instrumentation, for Throbbing Gristle.[18] Tutti played guitar with a slide in order to produce glissandi, or pounded the strings as if it were a percussion instrument.[76] Throbbing Gristle also played at very high volume and produced ultra-high and sub-bass frequencies in an attempt to produce physical effects, naming this approach as "metabolic music."[77]

Vocals were sporadic, and were as likely to be bubblegum pop as they were to be abrasive polemics. Cabaret Voltaire's Stephen Mallinder's vocals were electronically treated.[78]

The purpose of industrial music initially was to serve as a commentary on modern society by eschewing what artists saw as trite connections to the past.[71] Throbbing Gristle opposed the elements of traditional rock music remaining in the punk rock scene, declaring industrial to be "anti-music."[76] 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 audience abuse,[79] such as Throbbing Gristle's aiming high powered lights at the audience.[80]

Industrial groups typically focus on 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."[79] Furthermore, an interest in the investigation of "cults, 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 was present in Throbbing Gristle's work,[81] as well as in other industrial pioneers. Burroughs's 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.[82] Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism.[83] Throbbing Gristle's logo was based on the lightning symbol of the British Union of Fascists,[84] while the Industrial Records logo was a photo of Auschwitz.[85]

 
Electro-industrial group Front Line Assembly

Expansion and offshoots (late 1980s and early 1990s)

See also: List of industrial music genres

As some of the originating bands drifted away from the genre in the 1980s, industrial music expanded to include bands influenced by new wave music, hip hop music, jazz, disco, reggae, and new age music, sometimes incorporating pop music songwriting.[86] A number of additional styles developed from the already eclectic base of industrial music. These offshoots include fusions with noise music, ambient music, folk music, post-punk and electronic dance music, as well as other mutations and developments. The scene has spread worldwide, and is particularly well represented in North America, Europe, and Japan. Substyles inspired by industrial music include dark ambient, power electronics, Japanoise, neofolk, electro-industrial, electronic body music, industrial hip hop, industrial rock, industrial metal, industrial pop, martial industrial, power noise, and witch house.

Mainstream success (1990s and 2000s)

 
 
Ministry's Al Jourgensen and Nine Inch Nails' Trent Reznor

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 called it "the kind of meaningless catch-all term that new wave once was".[87] A number of acts associated with industrial music achieved commercial success during this period including Nine Inch Nails, Marilyn Manson, Rammstein and Orgy.

 
 
 
Marilyn Manson and his band, Orgy, and Rob Zombie prominently used elements associated with industrial music in their albums.

Through the 1990s Nine Inch Nails and Marilyn Manson had several albums and EPs certified platinum by the Recording Industry Association of America (RIAA), including Nine Inch Nails' Broken (1992),[88] The Downward Spiral (1994)[89] and The Fragile,[90], and Marilyn Manson's Antichrist Superstar (1996)[91] and Mechanical Animals.[92]

See also

Footnotes

  1. ^ Fisher, Mark (2010). "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope (9).
  2. ^ "Industrial". Allmusic. All Media Network. Retrieved May 5, 2017.
  3. ^ V.Vale. Re/Search #6/7: Industrial Culture Handbook, 1983.
  4. ^ "... journalists now use 'industrial' as a term like they would 'blues.'"—Genesis P-Orridge, RE/Search #6/7, p. 16.
  5. ^ "Industrial". Oxford English Dictionary (Online ed.). Oxford University Press. (Subscription or participating institution membership required.)
  6. ^ Henahan, Donal (April 4, 1972). "Limned the Landscape". The New York Times: 46. Retrieved November 17, 2018.
  7. ^ Brown, Barclay (1981). "The Noise Instruments of Luigi Russolo". Perspectives of New Music. 20 (1/2): 31–48. doi:10.2307/942398. JSTOR 942398.
  8. ^ Olewnick, Brian. "Ammmusic Review by Brian Olewnick". AllMusic. Retrieved August 23, 2022.
  9. ^ "The Red Krayola: Introduction Album Review". Pitchfork. June 22, 2006.
  10. ^ "The Red Krayola Biography, Songs, & Albums". AllMusic.
  11. ^ Linhardt, Alex (February 9, 2004). "The Red Krayola: The Parable of Arable Land / God Bless the Red Krayola and All Who Sail with It Album Review". Pitchfork. Retrieved August 23, 2022.
  12. ^ Henderson, Alex. "Orgasm Review by Alex Hederson". AllMusic. Retrieved August 23, 2022.
  13. ^ a b Monroe, p. 212
  14. ^ RE/Search #6/7, p. 11–12.
  15. ^ RE/Search #6/7, p. 19.
  16. ^ Reynolds 2005, p. 225.
  17. ^ "Allmusic bio". All Media Guide. Retrieved March 1, 2010.
  18. ^ a b c Reynolds 2005, p. 227.
  19. ^ RE/Search #6/7, p. 67.
  20. ^ RE/Search #6/7, p. 117
  21. ^ Reynolds 2005, pp. 154, 159.
  22. ^ Reynolds 2005, p. 156.
  23. ^ a b Reynolds 2005, p. 242.
  24. ^ a b Reynolds 2005, p. 243.
  25. ^ a b Reynolds 2005, p. 485.
  26. ^ Reynolds, Simon (April 7, 2009). "Sonic Youth are caught under the influence". The Guardian. Guardian News and Media Limited. Retrieved October 28, 2009.
  27. ^ a b c Reynolds 2005, p. 226.
  28. ^ RE/Search #6/7, p. 97–105.
  29. ^ Reynolds 2005, pp. 154–155, 171.
  30. ^ Petrusich, Amanda (September 17, 2007). "Interviews: Lou Reed". Pitchfork. Retrieved April 16, 2010.
  31. ^ Slotnik, Daniel E. (November 3, 2018). "Hardy Fox, of the Avant-Garde Band the Residents (Maybe), Dies at 73". New York Times. Retrieved April 27, 2020.
  32. ^ a b "Industrial Records". Brainwashed. Retrieved October 28, 2009.
  33. ^ a b 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.
  34. ^ RE/Search #6/7, p. 42–49.
  35. ^ RE/Search #6/7, p. 50–67.
  36. ^ Reynolds 2005, p. 224.
  37. ^ a b c RE/Search #6/7, p. 17.
  38. ^ Reynolds 2005, p. 229.
  39. ^ a b Reynolds 2005, p. 240.
  40. ^ Ankeny, Jason. "Clock DVA Biography". Allmusic. Rovi Corporation. Retrieved October 28, 2009.
  41. ^ Torreano, Bradley. "Nocturnal Emissions Biography". Allmusic. Rovi Corporation. Retrieved October 28, 2009.
  42. ^ Schaefer, Peter. "Whitehouse Biography". Allmusic. Rovi Corporation. Retrieved October 28, 2009.
  43. ^ Reynolds 2005, p. 241.
  44. ^ RE/Search #6/7, pp. 92–105.
  45. ^ Reynolds 2005, pp. 241–242.
  46. ^ Reynolds 2005, pp. 243–244.
  47. ^ Sutton, Michael. "Leather Nun Biography". Allmusic. Rovi Corporation. Retrieved October 28, 2009.
  48. ^ RE/Search #6/7, p. 2.
  49. ^ RE/Search #6/7, pp. 68–81.
  50. ^ RE/Search #6/7, pp. 50–67.
  51. ^ Torreano, Bradley. "Maurizio Bianchi Biography". Allmusic. Rovi Corporation. Retrieved October 28, 2009.
  52. ^ Huey, Steve. "Einstürzende Neubauten Biography". Allmusic. Rovi Corporation. Retrieved October 28, 2009.
  53. ^ a b Reynolds 2005, p. 484.
  54. ^ a b Reynolds 2005, p. 486.
  55. ^ Bush, John. "Test Dept. Biography". Allmusic. Rovi Corporation. Retrieved October 27, 2009.
  56. ^ Monroe, p. 222.
  57. ^ Reynolds 2005, p. 489.
  58. ^ Reynolds 2005, p. 487.
  59. ^ Monroe, p. 96.
  60. ^ Slavoj Žižek, "Why Are Laibach and NSK Not Fascists?," M'ARS 3–4, 1993, pp. 3–4.
  61. ^ Reynolds 2005, p. 474.
  62. ^ Reynolds 2005, pp. 474–475.
  63. ^ Reynolds 2005, pp. 480–481.
  64. ^ Reynolds 2005, p. 476.
  65. ^ Reynolds 2005, p. 477.
  66. ^ Reynolds 2005, p. 478.
  67. ^ Reynolds 2005, pp. 481–482.
  68. ^ Reynolds 2005, p. 482.
  69. ^ Reynolds 2005, p. 483.
  70. ^ a b The Secret History of Rock: The Most Influential Bands You've Never Heard by Roni Sarig
  71. ^ a b "Industrial Records: Industrial Music for Industrial People". Brainwashed Inc. Retrieved April 16, 2010.
  72. ^ RE/Search #6/7, pp. 9–10.
  73. ^ a b Reynolds 2005, p. 168.
  74. ^ Reynolds 2005, p. 228.
  75. ^ Reynolds 2005, pp. 169–170.
  76. ^ a b Reynolds 2005, p. 230.
  77. ^ Reynolds 2005, p. 235.
  78. ^ Reynolds 2005, p. 170.
  79. ^ a b RE/Search #6/7, p. 5.
  80. ^ Ford, 8.10
  81. ^ RE/Search #6/7, p. 9.
  82. ^ "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.
  83. ^ RE/Search #6/7, p. 105
  84. ^ Webb, Peter (2007). "Neo-Folk or Postindustrial Music". Exploring the Networked Worlds of Popular Music. Psychology Press. p. 80. ISBN 978-0-415-95658-1. Retrieved January 30, 2011.
  85. ^ Thompson, Dave (2000). "Industrial Records". Alternative Rock. Hal Leonard Corporation. p. 780. ISBN 978-0-87930-607-6. Retrieved January 30, 2011.
  86. ^ Woods, Karen (March 1992). "Industrial Index". Spin. Vol. 7, no. 12. p. 43.
  87. ^ Greer, Jim (March 1992). "Nine Inches of Love". Spin. Vol. 7, no. 12. pp. 36–43.
  88. ^ "American album certifications – Nine Inch Nails – Broken". Recording Industry Association of America.
  89. ^ "American album certifications – Nine Inch Nails – The Downward Spiral". Recording Industry Association of America.
  90. ^ "American album certifications – Nine Inch Nails – The Fragile". Recording Industry Association of America.
  91. ^ "American album certifications – Marilyn Manson – Antichrist Superstar". Recording Industry Association of America.
  92. ^ "American album certifications – Marilyn Manson – Mechanical Animals". Recording Industry Association of America.

References

  • Ford, Simon (1999). Wreckers of Civilization. London: Black Dog Publishing. ISBN 1-901033-60-0. OCLC 473269351.
  • Monroe, Alexei (2005). Interrogation Machine: Laibach and NSK. Cambridge: The MIT Press. ISBN 0-262-63315-9. OCLC 1150047415 – via the Internet Archive.
  • Hanley, Jason J. (Spring 2004). "'The Land of Rape and Honey': The Use of World War II Propaganda in the Music Videos of Ministry and Laibach". American Music. 22 (1): 158–75. doi:10.2307/3592974. JSTOR 3592974.
  • Reed, S. Alexander (2013). Assimilate: A Critical History of Industrial Music. New York: Oxford University Press. ISBN 9780199832606. OCLC 1147729910 – via the Internet Archive.
  • Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN 0571215696. OCLC 1036851652 – via the Internet Archive.
  • Vale, V.; Juno, Andrea, eds. (1983). Re/Search #6/7: Industrial Culture Handbook. San Francisco, CA: RE/Search Publications. ISBN 0-940642-07-7 – via the Internet Archive.

January 12, 2023
industrial, music, confused, with, genre, music, that, draws, harsh, mechanical, transgressive, provocative, sounds, themes, allmusic, defines, industrial, music, most, abrasive, aggressive, fusion, rock, electronic, music, that, initially, blend, avant, garde. Not to be confused with Industrial musical 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 tape music musique concrete white noise synthesizers sequencers etc and punk provocation 2 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 IndustrialStylistic originsRock electronic avant garde punk rock noise musique concrete art pop 1 free improvisation performance artCultural originsEarly mid 1970s United Kingdom United States Chicago and GermanyDerivative formsGlitch noise rock illbientSubgenresElectro industrial martial industrial power electronics complete list Fusion genresDark ambient EBM industrial dance Industrial pop industrial hip hop industrial metal industrial rock industrial techno neofolk neurofunk techstep witch house darkcoreRegional scenesAustralia Germany United Kingdom United States Chicago Other topicsList of noise musicians post punk synth pop Gothic rockThe first industrial artists experimented with noise and aesthetically controversial topics musically and visually such as fascism sexual perversion and the occult Prominent industrial musicians include Throbbing Gristle Monte Cazazza SPK Boyd Rice Cabaret Voltaire and Z EV 3 On Throbbing Gristle s 1977 debut album The Second Annual Report they coined the slogan industrial music for industrial people Industrial music scenes also developed in San Francisco and Chicago The precursors that influenced the development of the genre included 1940s musique concrete and varied world music sources in addition to rock era acts such as Faust Kraftwerk the Velvet Underground and Lou Reed s Metal Machine Music 1975 Musicians also cite writers such as William S Burroughs and J G Ballard and artists such as Brion Gysin as influences While the term was self applied by a small coterie of groups and individuals associated with Industrial Records in the late 1970s it was broadened to include artists influenced by the original movement or using an industrial aesthetic 4 Over time the genre s influence spread into and blended with styles including ambient synth music and rock such as Front 242 Front Line Assembly KMFDM and Sister Machine Gun acts associated with the Chicago based Wax Trax Records imprint Electro industrial music is a primary subgenre that developed in the 1980s with the most notable bands in the genre being Front Line Assembly and Skinny Puppy The two other most notable hybrid genres are industrial rock and industrial metal which include bands such as Nine Inch Nails Ministry Rammstein and Fear Factory the first three of which released platinum selling albums in the 1990s Contents 1 History 1 1 Precursors 1 2 Industrial Records 1 3 Wax Trax Records 1 4 Expansion of the scene 2 Characteristics and history 2 1 Expansion and offshoots late 1980s and early 1990s 2 2 Mainstream success 1990s and 2000s 3 See also 4 Footnotes 5 ReferencesHistory EditPrecursors Edit Industrial music drew from a broad range of predecessors According to the Oxford English Dictionary the genre was first named in 1942 when The Musical Quarterly called Dmitri Shostakovich s 1927 Symphony No 2 the high tide of industrial music 5 Similarly in 1972 The New York Times described works by Ferde Grofe especially 1935 s A Symphony in Steel as a part of his industrial music genre that called on such instruments as four pairs of shoes two brooms a locomotive bell a pneumatric drill and a compressed air tank 6 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 Early examples of industrial music are arguably found in Pierre Schaeffer s 1940s musique concrete and the tape music of Halim El Dabh the former of which is akin to the aesthetics of 1970s industrial music while artists such as early 20th century Italian futurist Luigi Russolo laid the groundwork for the genre with his book and work The Art of Noises reflecting the sounds of a modern industrial society 7 Brian Olenwick of AllMusic stated the 1960s English experimental group AMM as originators of the genre as well as to electronica free improvisation and noise music writing that the experimentation in sonic assault noise and 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 8 Pitchfork attributes the Red Krayola as the primary oracle for a generation of art punks industrial savants and new wave scientists 9 with the 1967 record The Parable of Arable Land being called a precursor to industrial rock by AllMusic s Ritchie Unterberger 10 and their 1968 follow up God Bless the Red Krayola and All Who Sail With It being dubbed bootleg Einsturzende Neubauten at its grimiest atonality by Pitchfork s Alex Lindhardt 11 Cromagnon s album Orgasm 1969 has been cited by AllMusic s Alex Henderson as foreshadowing industrial noise rock and no wave with the track Caledonia resembling a Ministry or Revolting Cocks recording from 1989 12 Frank Zappa and Captain Beefheart in 1975 cited as inspirations by Herman Taylor In the book Interrogation Machine Laibach and NSK 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 13 Industrial music was created originally by using mechanical and electric machinery and later advanced synthesizers samplers and electronic percussion as the technology developed Monroe also argues for Suicide as an influential contemporary of the industrial musicians 13 Groups cited as inspirational by the founders of industrial music include the Velvet Underground Joy Division and Martin Denny 14 Genesis P Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka Kraftwerk Charles Manson and William S Burroughs 15 P Orridge also credited 1960s rock such as the Doors Pearls Before Swine the Fugs Captain Beefheart and Frank Zappa in a 1979 interview 16 The dissonant electronic work of krautrock group Faust was an influence on industrial artists 17 Chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream 18 Boyd Rice was influenced by the music of 60s girl groups and tiki culture 19 Z EV cited Christopher Tree Spontaneous Sound John Coltrane Miles Davis Tim Buckley Jimi Hendrix and Captain Beefheart among others together with Tibetan Balinese Javanese Indian and African music as influential in his artistic life 20 Cabaret Voltaire cited Roxy Music as their initial forerunners as well as Kraftwerk s Trans Europe Express 21 Cabaret Voltaire also recorded pieces reminiscent of musique concrete and composers such as Morton Subotnick 22 Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening 23 23 Skidoo borrowed from Fela Kuti and Miles Davis s On the Corner 24 Many industrial groups including Einsturzende Neubauten took inspiration from world music 25 Many of the initial industrial musicians preferred to cite artists or thinkers rather than musicians as their inspiration Simon Reynolds declares that Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism 26 John Cage was an initial inspiration for Throbbing Gristle 27 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 28 Cabaret Voltaire took conceptual cues from Burroughs J G Ballard and Tristan Tzara 29 Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade the latter also took impetus from the Comte de Lautreamont 23 Another influence on the industrial aesthetic was Lou Reed s Metal Machine Music Pitchfork Music cites this album as inspiring in part much of the contemporary avant garde music scene noise in particular 30 The album consists entirely of guitar feedback anticipating industrial s use of non musical sounds original research The New York Times described American avant garde band the Residents as having presaged forms of punk new wave and industrial music 31 Industrial Records Edit Industrial Music for Industrial People was originally coined by Monte Cazazza 32 as the strapline for the record label Industrial Records founded by British art provocateurs Throbbing Gristle 33 The first wave of this music appeared with Throbbing Gristle from London Cabaret Voltaire from Sheffield 34 and Boyd Rice recording under the name NON from the United States 35 Throbbing Gristle first performed in 1976 36 and began as the musical offshoot of the Kingston upon Hull based COUM Transmissions 37 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 27 COUM was composed of P Orridge and Cosey Fanni Tutti 27 Beginning in 1972 COUM staged several performances inspired by Fluxus and Viennese Actionism These included various acts of sexual and physical abjection 18 Peter Christopherson an employee of commercial artists Hipgnosis joined the group in 1974 with Carter joining the following year 37 The group renamed itself Throbbing Gristle in September 1975 their name coming from a northern English slang word for an erection 37 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 38 The group announced their dissolution in 1981 declaring that their mission has been terminated 39 Wax Trax Records Edit Main article Wax Trax Records Chicago record label Wax Trax Records was prominent in the widespread attention industrial music received starting in the early 1980s The label was started by Jim Nash and Dannie Flesher The label s first official release was an EP in 1980 entitled Immediate Action by Strike Under The label went on to distribute some of the most prominent names in industrial throughout the 1980s and 1990s Wax Trax also distributed industrial releases in the United States for the Belgium record label Play It Again Sam Records and had opened a North American office dubbed Play It Again Sam U S A as a division of Wax Trax Wax Trax was subsequently purchased by TVT Records in 1992 who closed the independent Chicago label in 2001 Jim s Daughter Julia Nash resurrected Wax Trax Records in 2011 with a 3 day charity event titled Wax Trax Retrospectacle 33 1 3 Year Anniversary Julia officially released new material in 2014 under the Wax Trax imprint and continues to run the record label from Chicago Expansion of the scene Edit The bands Clock DVA 40 Nocturnal Emissions 41 Whitehouse 42 Nurse with Wound 43 and SPK 44 soon followed Whitehouse intended to play the most brutal and extreme music of all time a style they eventually called power electronics 39 An early collaborator with Whitehouse Steve Stapleton formed Nurse with Wound who experimented with noise sculpture and sound collage 45 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 24 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 46 Swedish act Leather Nun were signed to Industrial Records in 1978 being the first non TG Cazazza act to have an IR release 32 Their singles eventually received significant airplay in the United States on college radio 47 Industrial Culture Handbook reference guide to the philosophy and interests of a flexible alliance of deviant artists 48 Across the Atlantic similar experiments were taking place In San Francisco performance artist Monte Cazazza began recording noise music 49 Boyd Rice released several albums of noise with guitar drones and tape loops creating a cacophony of repetitive sounds 50 In Boston Sleep Chamber and other artists from Inner X Musick began experimenting with a mixture of powerful noise and early forms of EBM In Italy work by Maurizio Bianchi at the beginning of the 1980s also shared this aesthetic 51 In Germany Einsturzende Neubauten mixed metal percussion guitars and unconventional instruments such as jackhammers and bones in stage performances that often damaged the venues in which they played 52 Blixa Bargeld inspired by Antonin Artaud and an enthusiasm for amphetamines also originated an art movement called Die Genialen Dilettanten 53 Bargeld is particularly well known for his hissing scream 53 In January 1984 Einsturzende 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 54 This event received front page news coverage in England 54 Other groups who practiced a form of industrial metal music that is produced by the sounds of metal crashing against metal include Test Dept 55 Laibach 56 and Die Krupps as well as Z EV and SPK 25 Test Dept were largely inspired by Russian Futurism and toured to support the 1984 85 UK miners strike 57 Skinny Puppy embraced a variety of industrial forefathers and created a lurching impalatable whole from many pieces Swans from New York City also practiced a metal music aesthetic though reliant on standard rock instrumentation 58 Laibach a Slovenian group who began while Yugoslavia remained a single state were very controversial for their iconographic borrowings from Stalinist Nazi Titoist Dada and Russian Futurist imagery conflating Yugoslav patriotism with its German authoritarian adversary 59 Slavoj Zizek 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 60 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 61 Their first album was much more accessible and melodic than the usual industrial style and included hired work by trained musicians 62 Later work returned to the sound collage and noise elements of earlier industrial 63 They also borrowed from funk and disco P Orridge also founded Thee Temple ov Psychick Youth a quasi religious organization that produced video art 64 Psychic TV s commercial aspirations were managed by Stevo of Some Bizzare Records who released many of the later industrial musicians including Einsturzende Neubauten Test Dept and Cabaret Voltaire 65 Around 1983 Cabaret Voltaire members were deeply interested in funk music and with the encouragement of their friends from New Order began to develop a form of dark but danceable electrofunk 66 Christopherson left Psychic TV in 1983 and formed Coil with John Balance Coil made use of gongs and bullroarers in an attempt to conjur Martian homosexual energy 67 David Tibet a friend of Coil s formed Current 93 both groups were inspired by amphetamines and LSD 68 J G Thirlwell a co producer with Coil developed a version of black comedy in industrial music borrowing from lounge as well as noise and film music 69 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 33 Characteristics and history EditThe birth of industrial music was a response to an age in which the access and control of information were becoming the primary tools of power 70 At its birth the genre of industrial music was different from any other music and its use of technology and disturbing lyrics and themes to tear apart preconceptions about the necessary rules of musical form supports the suggestion that industrial music is modernist music 70 The artists themselves made these goals explicit even drawing connections to social changes they wished to argue for through their music The Industrial Records website explains that the musicians wanted to re invent rock music and that their uncensored records were about their relationship with the world 71 They go on to say that they wanted their music to be an awakening for listeners so that they would begin to think for themselves and question the world around them Industrial Records intended the term industrial to evoke the idea of music created for a new generation with previous music being more agricultural P Orridge stated that 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 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 times you know the Industrial Revolution 72 William S Burroughs a conceptual inspiration for the industrial musicians Early industrial music often featured tape editing stark percussion and loops distorted to the point where they had degraded to harsh noise such as the work of early industrial group Cabaret Voltaire which journalist Simon Reynolds described as characterized by hissing high hats and squelchy snares of rhythm generator 73 Carter of Throbbing Gristle invented a device named the Gristle izer played by Christopherson which comprised a one octave keyboard and a number of cassette machines triggering various pre recorded sounds 74 Traditional instruments were often played in nontraditional or highly modified ways Reynolds described the Cabaret Voltaire members individual contributions as Chris Watson s smears of synth slime Stephen Mallinder s dankly pulsing bass and Richard H Kirk s spikes of shattered glass guitar 73 Watson custom built a fuzzbox for Kirk s guitar producing a unique timbre 75 Carter built speakers effects units and synthesizer modules as well as modifying more conventional rock instrumentation for Throbbing Gristle 18 Tutti played guitar with a slide in order to produce glissandi or pounded the strings as if it were a percussion instrument 76 Throbbing Gristle also played at very high volume and produced ultra high and sub bass frequencies in an attempt to produce physical effects naming this approach as metabolic music 77 Vocals were sporadic and were as likely to be bubblegum pop as they were to be abrasive polemics Cabaret Voltaire s Stephen Mallinder s vocals were electronically treated 78 The purpose of industrial music initially was to serve as a commentary on modern society by eschewing what artists saw as trite connections to the past 71 Throbbing Gristle opposed the elements of traditional rock music remaining in the punk rock scene declaring industrial to be anti music 76 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 audience abuse 79 such as Throbbing Gristle s aiming high powered lights at the audience 80 Industrial groups typically focus on 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 79 Furthermore an interest in the investigation of cults 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 was present in Throbbing Gristle s work 81 as well as in other industrial pioneers Burroughs s 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 82 Many of the first industrial musicians were interested in though not necessarily sympathetic with fascism 83 Throbbing Gristle s logo was based on the lightning symbol of the British Union of Fascists 84 while the Industrial Records logo was a photo of Auschwitz 85 Electro industrial group Front Line Assembly Expansion and offshoots late 1980s and early 1990s Edit See also List of industrial music genres As some of the originating bands drifted away from the genre in the 1980s industrial music expanded to include bands influenced by new wave music hip hop music jazz disco reggae and new age music sometimes incorporating pop music songwriting 86 A number of additional styles developed from the already eclectic base of industrial music These offshoots include fusions with noise music ambient music folk music post punk and electronic dance music as well as other mutations and developments The scene has spread worldwide and is particularly well represented in North America Europe and Japan Substyles inspired by industrial music include dark ambient power electronics Japanoise neofolk electro industrial electronic body music industrial hip hop industrial rock industrial metal industrial pop martial industrial power noise and witch house Mainstream success 1990s and 2000s Edit Ministry s Al Jourgensen and Nine Inch Nails Trent Reznor 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 called it the kind of meaningless catch all term that new wave once was 87 A number of acts associated with industrial music achieved commercial success during this period including Nine Inch Nails Marilyn Manson Rammstein and Orgy Marilyn Manson and his band Orgy and Rob Zombie prominently used elements associated with industrial music in their albums Through the 1990s Nine Inch Nails and Marilyn Manson had several albums and EPs certified platinum by the Recording Industry Association of America RIAA including Nine Inch Nails Broken 1992 88 The Downward Spiral 1994 89 and The Fragile 90 and Marilyn Manson s Antichrist Superstar 1996 91 and Mechanical Animals 92 See also EditAssimilate A Critical History of Industrial Music Cassette culture Experimental music Rivethead Steampunk List of industrial music festivals List of industrial music bands List of industrial music genresFootnotes Edit Fisher Mark 2010 You Remind Me of Gold Dialogue with Simon Reynolds Kaleidoscope 9 Industrial Allmusic All Media Network Retrieved May 5 2017 V Vale Re Search 6 7 Industrial Culture Handbook 1983 journalists now use industrial as a term like they would blues Genesis P Orridge RE Search 6 7 p 16 Industrial Oxford English Dictionary Online ed Oxford University Press Subscription or participating institution membership required Henahan Donal April 4 1972 Limned the Landscape The New York Times 46 Retrieved November 17 2018 Brown Barclay 1981 The Noise Instruments of Luigi Russolo Perspectives of New Music 20 1 2 31 48 doi 10 2307 942398 JSTOR 942398 Olewnick Brian Ammmusic Review by Brian Olewnick AllMusic Retrieved August 23 2022 The Red Krayola Introduction Album Review Pitchfork June 22 2006 The Red Krayola Biography Songs amp Albums AllMusic Linhardt Alex February 9 2004 The Red Krayola The Parable of Arable Land God Bless the Red Krayola and All Who Sail with It Album Review Pitchfork Retrieved August 23 2022 Henderson Alex Orgasm Review by Alex Hederson AllMusic Retrieved August 23 2022 a b Monroe p 212 RE Search 6 7 p 11 12 RE Search 6 7 p 19 Reynolds 2005 p 225 Allmusic bio All Media Guide Retrieved March 1 2010 a b c Reynolds 2005 p 227 RE Search 6 7 p 67 RE Search 6 7 p 117 Reynolds 2005 pp 154 159 Reynolds 2005 p 156 a b Reynolds 2005 p 242 a b Reynolds 2005 p 243 a b Reynolds 2005 p 485 Reynolds Simon April 7 2009 Sonic Youth are caught under the influence The Guardian Guardian News and Media Limited Retrieved October 28 2009 a b c Reynolds 2005 p 226 RE Search 6 7 p 97 105 Reynolds 2005 pp 154 155 171 Petrusich Amanda September 17 2007 Interviews Lou Reed Pitchfork Retrieved April 16 2010 Slotnik Daniel E November 3 2018 Hardy Fox of the Avant Garde Band the Residents Maybe Dies at 73 New York Times Retrieved April 27 2020 a b Industrial Records Brainwashed Retrieved October 28 2009 a b 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 RE Search 6 7 p 42 49 RE Search 6 7 p 50 67 Reynolds 2005 p 224 a b c RE Search 6 7 p 17 Reynolds 2005 p 229 a b Reynolds 2005 p 240 Ankeny Jason Clock DVA Biography Allmusic Rovi Corporation Retrieved October 28 2009 Torreano Bradley Nocturnal Emissions Biography Allmusic Rovi Corporation Retrieved October 28 2009 Schaefer Peter Whitehouse Biography Allmusic Rovi Corporation Retrieved October 28 2009 Reynolds 2005 p 241 RE Search 6 7 pp 92 105 Reynolds 2005 pp 241 242 Reynolds 2005 pp 243 244 Sutton Michael Leather Nun Biography Allmusic Rovi Corporation Retrieved October 28 2009 RE Search 6 7 p 2 RE Search 6 7 pp 68 81 RE Search 6 7 pp 50 67 Torreano Bradley Maurizio Bianchi Biography Allmusic Rovi Corporation Retrieved October 28 2009 Huey Steve Einsturzende Neubauten Biography Allmusic Rovi Corporation Retrieved October 28 2009 a b Reynolds 2005 p 484 a b Reynolds 2005 p 486 Bush John Test Dept Biography Allmusic Rovi Corporation Retrieved October 27 2009 Monroe p 222 Reynolds 2005 p 489 Reynolds 2005 p 487 Monroe p 96 Slavoj Zizek Why Are Laibach and NSK Not Fascists M ARS 3 4 1993 pp 3 4 Reynolds 2005 p 474 Reynolds 2005 pp 474 475 Reynolds 2005 pp 480 481 Reynolds 2005 p 476 Reynolds 2005 p 477 Reynolds 2005 p 478 Reynolds 2005 pp 481 482 Reynolds 2005 p 482 Reynolds 2005 p 483 a b The Secret History of Rock The Most Influential Bands You ve Never Heard by Roni Sarig a b Industrial Records Industrial Music for Industrial People Brainwashed Inc Retrieved April 16 2010 RE Search 6 7 pp 9 10 a b Reynolds 2005 p 168 Reynolds 2005 p 228 Reynolds 2005 pp 169 170 a b Reynolds 2005 p 230 Reynolds 2005 p 235 Reynolds 2005 p 170 a b RE Search 6 7 p 5 Ford 8 10 RE Search 6 7 p 9 These ideas contributed some of the theoretical mise en scene 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 RE Search 6 7 p 105 Webb Peter 2007 Neo Folk or Postindustrial Music Exploring the Networked Worlds of Popular Music Psychology Press p 80 ISBN 978 0 415 95658 1 Retrieved January 30 2011 Thompson Dave 2000 Industrial Records Alternative Rock Hal Leonard Corporation p 780 ISBN 978 0 87930 607 6 Retrieved January 30 2011 Woods Karen March 1992 Industrial Index Spin Vol 7 no 12 p 43 Greer Jim March 1992 Nine Inches of Love Spin Vol 7 no 12 pp 36 43 American album certifications Nine Inch Nails Broken Recording Industry Association of America American album certifications Nine Inch Nails The Downward Spiral Recording Industry Association of America American album certifications Nine Inch Nails The Fragile Recording Industry Association of America American album certifications Marilyn Manson Antichrist Superstar Recording Industry Association of America American album certifications Marilyn Manson Mechanical Animals Recording Industry Association of America References EditFord Simon 1999 Wreckers of Civilization London Black Dog Publishing ISBN 1 901033 60 0 OCLC 473269351 Monroe Alexei 2005 Interrogation Machine Laibach and NSK Cambridge The MIT Press ISBN 0 262 63315 9 OCLC 1150047415 via the Internet Archive Hanley Jason J Spring 2004 The Land of Rape and Honey The Use of World War II Propaganda in the Music Videos of Ministry and Laibach American Music 22 1 158 75 doi 10 2307 3592974 JSTOR 3592974 Reed S Alexander 2013 Assimilate A Critical History of Industrial Music New York Oxford University Press ISBN 9780199832606 OCLC 1147729910 via the Internet Archive Reynolds Simon 2005 Rip It Up and Start Again Postpunk 1978 1984 London Faber and Faber ISBN 0571215696 OCLC 1036851652 via the Internet Archive Vale V Juno Andrea eds 1983 Re Search 6 7 Industrial Culture Handbook San Francisco CA RE Search Publications ISBN 0 940642 07 7 via the Internet Archive Retrieved from https en wikipedia org w index php title Industrial music amp oldid 1131796954, wikipedia, wiki, book, books, library,

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