List of industrial music genres

{{Short description|none}} {{redirect-distinguish|Post-industrial music|Neofolk}} Industrial music is a form of experimental music which emerged in the 1970s. During the 1980s, the genre splintered into a range of offshoots collectively labelled '''post-industrial music'''. These styles drew influence from the first wave of industrial, while incorporating elements from more accessible genres such as rock, pop, folk, heavy metal, EDM and hip hop.<ref>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<br />''"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>

This list details some of these offshoots, including industrial genres which have spread worldwide in North America, Europe, and Japan.

==Industrial music== {{main|Industrial music}} '''Industrial music''' comprises many styles of experimental music, including many forms of electronic music. The term was originally coined in 1976 by Monte Cazazza and Throbbing Gristle, with the founding of Industrial Records.The first industrial artists experimented with noise and controversial topics. Their production was not limited to music, but included mail art, performance art, installation pieces and other art forms.{{sfn|Vale & Juno|1983}} Other early industrial musicians include NON and Cabaret Voltaire. By the late 1970s, additional artists emerged such as Clock DVA, Nocturnal Emissions, Einstürzende Neubauten, SPK, Nurse with Wound, and Z’EV, alongside Whitehouse who coined the subgenre "power electronics".<ref name="Allmusic EN">{{Cite web |url={{AllMusic|class = artist|id = mn0000926091/biography|pure_url=yes}} |title=Einstürzende Neubauten — Biography |last=Huey |first=Steve |website=AllMusic |publisher=All Media Network |access-date=2017-09-15 |df=mdy-all}}</ref>

==Post-Industrial developments==

=== Post-Industrial === {{Infobox music genre | name = Post-Industrial | stylistic_origins = * Industrial * post-punk * new wave * pop * metal * new age * hip hop * ambient music * folk music * EDM * funk * jazz * disco * reggae * rock | cultural_origins = 1980s; United Kingdom and United States | instruments = | derivatives = * Neofolk * futurepop * Neue Deutsche Härte * new beat * hard beat * witch house * deconstructed club | subgenrelist = | subgenres = {{hlist|Dark ambient|power noise|electro-industrial|EBM|martial industrial|dark electro|aggrotech|cyber metal|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 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, rock, pop, heavy metal, hip hop, jazz, funk, disco, reggae, ambient music, folk music, post-punk, EDM, and new age music.<ref>{{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 |page=43 |volume=7 |issue=12}}</ref><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>{{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 |archive-date=16 January 2021 |archive-url=https://web.archive.org/web/20210116001149/https://www.chicagoreader.com/chicago/wax-trax-reduxchart-watch/Content?oid=882542 |url-status=dead }}</ref><ref>{{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}}</ref> Another prominent label was Canada's Nettwerk which signed Skinny Puppy. Notable post-industrial styles included dark ambient, power noise, Japanoise, industrial rock, neofolk, electro-industrial, EBM, industrial hip hop, industrial metal, industrial pop, martial industrial, and futurepop.<ref name=":22"/>

===Dark ambient=== {{main|Dark ambient}} '''Dark ambient''' is a subgenre of post-industrial and ambient music, pioneered by artists such as Coil,<ref>{{Cite web |url=http://www.stylusmagazine.com/articles/artist_profile/coil.htm |title=Coil - Artist Profile |last=Ed Howard |year=2003 |website=Stylus Magazine |access-date=2017-09-18 |df=mdy-all |archive-date=2017-12-05 |archive-url=https://web.archive.org/web/20171205033648/http://www.stylusmagazine.com/articles/artist_profile/coil.htm |url-status=dead }}</ref> Lilith,<ref>{{Cite web |url={{AllMusic|class=artist|id=lilith-mn0000242030/biography|pure_url=yes}} |title=Lilith — Biography |last=Cooper |first=Sean |website=AllMusic|publisher=All Media Network |access-date=2017-09-15 |df=mdy-all}}</ref> Nurse with Wound,<ref>{{cite web|url={{AllMusic|class=artist|id=mn0000394288/biography|pure_url=yes}}|title=Nurse with Wound — Biography|access-date= 2017-09-15|df=mdy-all|first=John |last=Bush|work=AllMusic|publisher=All Media Network}}</ref> Lustmord,<ref>{{Cite web |url=https://pitchfork.com/features/show-no-mercy/7544-show-no-mercy/ |title=Show No Mercy |last=Stosuy |first=Brandon |date=2008-10-31 |website=Pitchfork |access-date=2017-09-15 |df=mdy-all}}</ref> and Zoviet France.<ref>{{Cite web |url={{AllMusic|class= album|id= mw0001269225|pure_url=yes}} |title=Shadow, Thief of the Sun - :zoviet*france |last=Carruthers |first=Sean |access-date=2017-09-15|df=mdy-all|website=AllMusic|publisher=All Media Network }}</ref> These artists make use of non-musical material and noise, but less abrasively than other post-industrial musicians, bordering more on ambient music.<ref>{{cite web | url=http://music.hyperreal.org/epsilon/info/werner_notes.html | last=Werner|first= Peter | title=Ambient Industrial | work=music.hyperreal.org| publisher=Hyperreal| access-date=2017-09-15|df=mdy-all}}</ref> The last material that Throbbing Gristle recorded in the studio, ''In the Shadow of the Sun'' and ''Journey Through a Body'', was ambient, and pointed in the direction that TG's offshoots (notably Coil, Chris & Cosey) would take.<ref name="headheritage">{{cite web|url= http://www.headheritage.co.uk/unsung/review/146|title= Throbbing Gristle - In The Shadow Of The Sun|last= Lucan|first=Lord|date= 2000-07-26|work=headheritage.co.uk|publisher=Head Heritage Ltd.|access-date= 2017-09-15|df=mdy-all}}</ref> Other artists include Long Distance Poison,<ref>{{Discogs artist|1991720|Long Distance Poison}}</ref> Hafler Trio,<ref>{{Cite web |url={{AllMusic|class=artist|id=mn0000948243/biography|pure_url=yes}} |title=Hafler Trio — Biography |last=Ankeny |first=Jason |website=AllMusic |publisher=All Media Network |access-date=2017-09-15 |df=mdy-all}}</ref> MRT, Kim Cascone,<ref>{{Cite web |url={{AllMusic|class=artist|id=mn0000001224/biography|pure_url=yes}} |title=PGR — Biography |last=Cooper |first=Sean |access-date=2017-09-15 |df=mdy-all|work=AllMusic|publisher=All Media Network}}</ref> Controlled Bleeding,<ref>{{Cite web |url={{AllMusic|class=artist|id=mn0000123674/biography|pure_url=yes}}|title=Controlled Bleeding — Biography|last=Ankeny |first=Jason|access-date= 2017-09-15|df=mdy-all|website=AllMusic|publisher=All Media Network}}</ref> Nine Inch Nails (on their album ''Ghosts I–IV''),<ref>{{cite web|url={{AllMusic |class=album|id=mw0000783108|pure_url=yes}}|title=Ghosts I-IV - Nine Inch Nails|work=AllMusic|publisher=All Media Network|access-date=2017-09-15|df=mdy-all|last=Erlewine|first=Stephen Thomas|author-link=Stephen Thomas Erlewine}}</ref> early Techno Animal,<ref>{{cite web|url={{AllMusic |class=artist|id=mn0000024102/biography|pure_url=yes}}|last=Cooper|first=Sean|title=Techno Animal — Biography|work=AllMusic|publisher=All Media Network|access-date=2017-09-15|df=mdy-all}}</ref> prominent game music composer Akira Yamaoka, Robin Rimbaud,<ref>{{Cite web |url={{AllMusic|class=artist|id=mn0000839245/biography|pure_url=yes}} |title=Scanner — Biography |last=Cooper |first=Sean |website=AllMusic |publisher=All Media Network |access-date=2017-09-15 |df=mdy-all}}</ref> Final<ref>{{cite web|url={{AllMusic |class=album|id=mw0000182248|pure_url=yes}}|title=One - Final|last=Raggett|first=Ned|work=AllMusic|publisher=All Media Network|access-date=2017-09-15|df=mdy-all}}</ref> and Deutsch Nepal.<ref>{{cite web|url={{AllMusic |class=artist|id=mn0000245842/biography|pure_url=yes}}|title=Deutsch Nepal — Biography|access-date= 2017-09-15|df=mdy-all|website=AllMusic|publisher=All Media Network}}</ref> Subsequent subgenres and fusions include dungeon synth, black ambient, ritual ambient, death ambient, drone ambient, noise ambient, industrial ambient and isolationist ambient.

===EBM=== {{main|Electronic body music}}

'''Electronic body music''', or '''EBM''', combines elements of European industrial,<ref name="Kilpatrick-US-2004">Nancy Kilpatrick. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: St. Martin's Griffin, 2004, {{ISBN|0-312-30696-2}}, p. 85-86.</ref> German electronic music such as that of Klaus Schulze,<ref name="hillveld">Hillegonda C Rietveld (1998) ''This Is Our House: House Music, Cultural Spaces and Technologies'' Aldershot: Ashgate. {{ISBN|978-1-85742-242-9}}</ref> and music of the Neue Deutsche Welle electropunk scene.<ref name="hillveld" /> It first came to prominence in Belgium.{{sfn|Sicko|1999|p=142}} The original term was coined by Ralf Hütter of Kraftwerk in 1978 to describe the more physical sound of their album ''The Man-Machine''.<ref name="technopop">{{cite web |date=1978-06-19 |title=WSKU Radio (Kent - Ohio) - Ralf Hütter |url=http://kraftwerk.technopop.com.br/interview_108.php |url-status=dead |archive-url=https://archive.today/20080310021047/http://kraftwerk.technopop.com.br/interview_108.php |archive-date=2008-03-10 |access-date=2017-09-15 |work=kraftwerk.technopop.com.br |publisher=Kraftwerk |format=transcrypted by Klein, MJ |df=mdy-all}}</ref><ref>{{cite book |last1=Elferen |first1=Isabella van |title=Gothic Music: The Sounds of the Uncanny |date=January 7, 2012 |publisher=University of Wales Press |isbn=9780708325186 |location=Cardiff |page=163}}</ref> Belgian group Front 242 used the term in its current sense in 1984 to describe their album ''No Comment'', released the same year.<ref name="iafrica">{{cite web |author=Jon Monsoon |date=2004-06-20 |title=EBM - A revolution in progress |url=http://entertainment.iafrica.com/music/profiles/330563.htm |archive-url=https://web.archive.org/web/20040721082853/http://entertainment.iafrica.com/music/profiles/330563.htm |archive-date=2004-07-21 |access-date=2017-09-15 |work=iAfrica.com |df=mdy-all}}</ref> It denotes a certain type of danceable electronic music, a mixture of electropunk and industrial music. Other artists include Armageddon Dildos,<ref>{{Cite web |last=Ruhlmann |first=William |title=Armageddon Dildos — Biography |url={{AllMusic|class=artist|id=mn0000928141/biography|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref><ref>{{Cite web |last=McDonald |first=Steven |title=Homicidal Dolls - Armageddon Dildos |url={{AllMusic |class=album|id=mw0000620129|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref> Die Krupps,<ref>{{Cite web |last=Eliasson |first=Tobias |date=2007-12-20 |title=Die Krupps - Too Much History |url=https://www.releasemagazine.net/Onrecord/ordiekruppstmh.htm |access-date=2017-09-15 |website=Release Magazine |df=mdy-all}}</ref> à;GRUMH...,<ref>{{cite web |last=Huey |first=Steve |title=à;GRUMH... — Biography |url={{AllMusic | class = artist | id = mn0000921561/biography|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref> A Split-Second,<ref>{{Cite web |last=Huey |first=Steve |title=A Split Second |url={{AllMusic | class = artist | id = mn0000569418|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref> And One,<ref>{{Cite web |last=Ankeny |first=Jason |title=And One — Biography |url={{AllMusic | class = artist | id = mn0000019161/biography|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref> Bigod 20,<ref>{{Cite web |last=Blush |first=John |title=Bigod 20 — Biography |url={{AllMusic | class = artist | id = mn0000762430/biography|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref> The Neon Judgement,<ref name="Allmusic The Neon Judgement">{{Cite web |last=Huey |first=Steve |title=The Neon Judgement |url={{AllMusic|class = artist|id = mn0000399998|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref> and Attrition.<ref>{{Cite web |last=Wilson |first=MacKenzie |title=Attrition — Biography |url={{AllMusic|class = artist|id = mn0000056233/biography|pure_url=yes}} |access-date=2017-09-15 |website=AllMusic |publisher=All Media Network |df=mdy-all}}</ref>

[[Image:Kevin Ogilvie Headshot.jpg|thumb|150px|Nivek Ogre of Skinny Puppy, an electro-industrial group]]

===Electro-industrial=== {{main|Electro-industrial}} '''Electro-Industrial''' draws on Electronic Body Music (EBM), and developed in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep, complex and layered sound. The style was pioneered by Skinny Puppy,<ref name="Bark Back">{{Cite magazine |url=https://www.rollingstone.com/artists/skinnypuppy/articles/story/6056448/skinny_puppy_bark_back |title=Skinny Puppy Bark Back |last=Adem Tepedelen |date=2004-05-20 |magazine=Rolling Stone |archive-url=https://web.archive.org/web/20090301073038/http://www.rollingstone.com/artists/skinnypuppy/articles/story/6056448/skinny_puppy_bark_back |archive-date=2009-03-01 |url-status=dead |access-date=2017-09-15 |df=mdy-all}}</ref> Front Line Assembly, and Wumpscut. In the mid-'90s, the style spawned the dark electro and aggrotech offshoots.<ref name="machens">{{Cite web |url=http://vendetta-music.com/PHP/Interviews/Breathe_April07.php |title=Axel Machens |date=2007-04-23 |website=Vendetta Music |archive-url=https://web.archive.org/web/20080703182520/http://vendetta-music.com/PHP/Interviews/Breathe_April07.php |archive-date=2008-07-03 |url-status=dead|access-date=2017-09-15 |df=mdy-all}}</ref> Other artists include Haujobb,<ref>{{Cite news |url=https://www.pghcitypaper.com/pittsburgh/german-electro-industrial-duo-haujobb-plays-pegasus-lounge/Content?oid=1339032 |title=German electro-industrial duo Haujobb plays Pegasus Lounge |last=Theiner |first=Manny |date=2007-09-13 |work=Pittsburgh City Paper |access-date=2017-09-15|df=mdy-all}}</ref> Lab Report,<ref>{{cite web|url={{AllMusic | class = artist | id = mn0000778352| pure_url= yes}}| title=Lab Report | first = John | last = Bush | access-date = 2017-09-15|work=AllMusic|publisher=All Media Network|df=mdy-all}}</ref> and Leæther Strip.{{sfn|Mercer|1997|p=24|ps=: "Claus Larsen fronts one of Europe's leading Electro-Industrial bands."}}

===Industrial hip hop=== {{main|Industrial hip hop}} '''Industrial hip hop''' fuses the themes and aesthetics of industrial with hip hop music. Its origins are in the work of Mark Stewart and Adrian Sherwood. In 1985, Stewart, former Pop Group singer, released ''As the Veneer of Democracy Starts to Fade'', applying the cut-up style of industrial music with the house band of Sugar Hill Records (Doug Wimbish, Keith Leblanc, and Skip McDonald).<ref>{{Cite magazine |last=Mark Fisher |date=July 2008 |title=Prometheus Unbound |magazine=The Wire |issue=293 |page=32}}</ref> Sherwood was a major figure in British dub music, as well as working with industrial groups such as Cabaret Voltaire, Einstürzende Neubauten, Ministry, KMFDM, and Nine Inch Nails.<ref>{{cite web|url={{AllMusic | class = artist | id = mn0000594648/biography|pure_url=yes}}| title = Adrian Sherwood — Biography| first = Jason | last = Ankeny |work=AllMusic|publisher=All Media Network| access-date = 2017-09-15|df=mdy-all}}</ref> Tackhead, a collaboration between Sherwood and the Sugar Hill band, picked up where Stewart left off.<ref>{{cite web|author=Stephen Troussé|title=Portishead – Third|work=Uncut|url=http://www.uncut.co.uk/reviews/album/portishead-third|date=2008-04-16|access-date=2017-09-15|df=mdy-all|archive-date=2018-10-15|archive-url=https://web.archive.org/web/20181015192324/https://www.uncut.co.uk/reviews/album/portishead-third|url-status=dead}}</ref> The Disposable Heroes of Hiphoprisy, from San Francisco,<ref>{{cite magazine|author=Ben Wood|title=Michael Franti: A New Bob Marley?|magazine=Suite 101|date=May 31, 2007}}</ref><ref name="NZ_Herald_10533107">{{cite news |url=http://www.nzherald.co.nz/music/news/article.cfm?c_id=264&objectid=10533107|title=Michael Franti and Spearhead - All Rebel Rockers |author=Kara, Scott |date=2008-09-19 |work=The New Zealand Herald | access-date = 2017-09-15|df=mdy-all}}</ref> and Meat Beat Manifesto,<ref>{{cite web|url={{AllMusic | class = artist | id = mn0000402976/biography|pure_url = yes}}| title= Meat Beat Manifesto — Biography| first = John | last = Bush|work=AllMusic|publisher=All Media Network| access-date = 2017-09-15|df=mdy-all}}</ref> from the UK, are also early representatives of the style. The later work of Broadrick's Godflesh,<ref name=ivens>{{cite web|title=Ivens interview by Chris Downton|last=Downton|first=Chris|work=Cyclic Defrost|url=https://www.cyclicdefrost.com/2007/11/ivens-interview-by-chris-downton/|access-date=2017-09-15|date=2007-11-24|df=mdy-all}}</ref> as well as his collaborations with Kevin Martin, Ice,<ref>{{cite web|author=Alan Ranta|title=The Bug - London Zoo |work=Tiny Mixtapes|url=https://www.tinymixtapes.com/music-review/bug-london-zoo|date=2008-08-07|access-date=2017-09-15|df=mdy-all}}</ref> and Techno Animal,<ref name=ivens/> are examples of industrial hip hop.<ref>{{cite web|author=Stevie Chick|title=Till Deaf Us Do Part|work=The Guardian|date=2008-07-18|url=https://www.theguardian.com/music/2008/jul/18/electronicmusic|access-date=2017-09-15|df=mdy-all}}</ref> Saul Williams, a slam poet, also performs in the style.<ref>{{Cite web |url=http://www.revolvermag.com/content/nine-inch-nails-release-album-online |title=Nine Inch Nails Release Album Online |date=2008-03-03 |website=Revolver Magazine |archive-url=https://web.archive.org/web/20080306005311/http://www.revolvermag.com/content/nine-inch-nails-release-album-online |archive-date=2008-03-06 |access-date=2017-09-15 |df=mdy-all}}</ref> Other notable contributors include clipping., B L A C K I E, Death Grips, JPEGMafia, and Dälek. [[Image:Rev cocks.jpg|thumb|Al Jourgensen with Revolting Cocks, an industrial rock group]]

===Industrial rock and industrial metal=== {{main|Industrial rock|Industrial metal}} '''Industrial rock''' artists generally employ the basic rock instrumentation of electric guitars, drums and bass and pair it with white noise blasts, electronic music gear (synthesizers, sequencers, samplers and drum machines). Guitars are commonly heavily distorted or otherwise effected. Bass guitars and drums may be played live, or be replaced by electronic musical instruments or computers. The early fusions of industrial music and rock were practiced by a handful of post-punk groups, including Chrome,{{sfn|Reynolds|2005|p=257–258}} Killing Joke,{{sfn|Reynolds|2005|p=435}} Swans,<ref>{{Cite magazine |last=Licht |first=Alan |year=2003 |title=Tunnel vision |magazine=The Wire |issue=233|pages=30–37}}</ref>{{rp|32}} Big Black,{{sfn|Blush|2001|p=222}} and Foetus.{{sfn|Connelly|2007|p=12}} Nine Inch Nails popularized industrial rock in the US with the release of ''Pretty Hate Machine'' and ''The Downward Spiral''.<ref>{{Cite magazine |url=https://www.rollingstone.com/music/artists/nine-inch-nails/biography |archive-url=https://web.archive.org/web/20110118074506/http://www.rollingstone.com/music/artists/nine-inch-nails/biography |url-status=dead |archive-date=January 18, 2011 |title=Nine Inch Nails |magazine=Rolling Stone |publisher=Wenner Media |access-date=2017-09-15 |df=mdy-all}}</ref> '''Industrial metal''' evolved from the scene, and is practiced by groups such as Ministry,{{sfn|Di Perna|1995|p=69}} Godflesh,<ref name="godflesh88">{{Cite web |url={{AllMusic|class=album|id=godflesh-mw0000204753|pure_url=yes}} |title=Godflesh - Godflesh |last=Walters |first=Martin |website=AllMusic |publisher=All Media Network |access-date=2017-09-15 |df=mdy-all}}</ref> and Fear Factory.<ref name="AM FF">{{Cite web |url=https://www.allmusic.com/artist/fear-factory-mn0000167320/biography |title=Fear Factory — Biography |last=Huey |first=Steve |website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref>

thumb|left|Merzbow, prominent Japanoise musician, in 2007

===Japanoise=== {{main|Japanoise}} '''Japanoise''' (a blend of the words "Japanese" and "noise") is the noise music scene of Japan.{{sfn|Kilpatrick|2004|p=86}}<ref>{{cite web|url=http://culturemachine.tees.ac.uk/Articles/ThackerArticle.htm |title=CM92007Thacker |publisher=Culturemachine.tees.ac.uk |access-date=2017-09-15 |url-status=dead |archive-url=https://web.archive.org/web/20080415061200/http://culturemachine.tees.ac.uk/Articles/ThackerArticle.htm |archive-date=April 15, 2008 |df=mdy-all}}</ref> Popular and active in the 1980s and 1990s but continuing into the early 21st century, the Japanoise scene is defined by its sense of musical freedom: Groups range from the punk demolition of Hanatarash<ref>{{cite web|url={{AllMusic | class = artist | id = mn0000556129/biography| tab = biography|pure_url=yes}}| title= Hanatarash — Biography| first = Erik | last = Hage |website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref> and its subsequent psychedelic Boredoms evolutions,<ref>{{cite web |url={{AllMusic | class = artist | id = mn0000770540/biography|pure_url=yes}}| title= Boredoms — Biography| first = Steve | last = Huey|website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref> to the tabletop electronics of Incapacitants<ref>{{cite web|url={{AllMusic | class = album | id = mw0000672858|pure_url=yes}}| title= Asset Without Liability - Incapacitants| first = Brian | last = Whitener |website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref> and Merzbow.<ref>{{cite web|url={{AllMusic | class = artist | id = mn0000884057/biography|pure_url=yes}}| title= Merzbow — Biography| first = François | last = Couture|website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref> The scene was initially inspired by power electronics<ref name=whitehouseamg/> and sometimes deals with BDSM themes.<ref>{{cite web|url={{AllMusic | class = album | id = mw0000236600 |pure_url=yes}}| title= Music for Bondage Performance, Vol. 2 - Merzbow | first = Tom | last = Schulte |website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref> Nonetheless, Japanoise is often less serious than other post-industrial styles,<ref>{{cite web|url={{AllMusic | class = album | id = mw0000621880|pure_url=yes}}| title= Pop Tatari - Boredoms| first = Ned | last = Raggett |website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref> and some musicians, such as Aube,<ref>{{cite web|url={{AllMusic | class = artist | id = mn0000057775/biography |pure_url=yes}}| title= Aube — Biography | first = John | last = Bush |website=AllMusic |publisher=All Media Network |access-date=2017-09-15|df=mdy-all}}</ref> are also inspired by psychedelia or space rock.

===Neofolk=== {{main|Neofolk}} [[Image:Current 93 at All Tomorrow's Parties 17 May 2007, cropped and colour fixed.jpg|thumb|The apocalyptic folk group Current 93 in 2007]] '''Neofolk''' is the music of artists like Douglas Pearce of Death In June,<ref>{{cite web|author=Helene Burkholder |date=2008-04-13|title=Balladeer of Doom - An interview with Douglas P., Part 2|url=http://monkeyhouse-recordings.co.uk/JK2CMS/index.php?option=com_content&task=view&id=1150&Itemid=38|archive-url=https://web.archive.org/web/20110720080600/http://monkeyhouse-recordings.co.uk/JK2CMS/index.php?option=com_content&task=view&id=1150&Itemid=38|archive-date=2011-07-20|access-date=2017-09-16|df=mdy-all}}</ref> Tony Wakeford of Sol Invictus,<ref>{{cite web|url=https://www.stewarthomesociety.org/wakeford.html|title=Tony Wakeford, Sol Invictus, Above The Ruins, fascism|work=Stewart Home|access-date=2017-09-16|df=mdy-all}}</ref> and David Tibet of Current 93,{{sfn|Reed|2013|p=224}} who had collaborated with one another.<ref>{{cite web | url=https://www.sputnikmusic.com/album.php?albumid=27921 | title=Current 93 - All the Pretty Little Horses (Album review) | Sputnikmusic }}</ref>{{better source needed|date=September 2017|reason=A review referenced is one by user.}} These musicians comprised a post-industrial music circle who incorporated folk music based on traditional European elements. Neofolk can be solely acoustic folk music or a blend of acoustic folk instrumentation with accompanying sounds, such as pianos, strings or elements of industrial music and experimental music. The genre encompasses an assortment of themes including traditional music, heathenry, romanticism and occultism. Neofolk musicians often have ties to other genres such as martial industrial. ''Apocalyptic folk'' predates ''neofolk'' and was used by David Tibet for the music of his band Current 93 during the late 1980s. Initially, Tibet did not intend to imply connection with the folk music genre; rather, that Current 93's music was made by "apocalyptic folk, or guys."<ref name="APOCALYPTICFOLK">{{cite web|url=http://www.popmatters.com/feature/current-93-060516/|title=The Apocalyptic Visions of Current 93|author=Jennifer Kelly|work=PopMatters|date=2006-05-16|access-date=2017-09-16|df=mdy-all}}</ref>

===Power electronics=== {{main|Power electronics (music)}}

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

===Power noise=== {{main|Power noise}} [[File:Esplendor_Riaza.jpg|right|thumb|267x267px|Esplendor Geometrico live in Rome 1986]] '''Power noise''' (also known as '''rhythmic noise''') is a subgenre of power electronics characterised by the merging of noise music with various forms of electronic dance music. Originally pioneered by Spanish group Esplendor Geométrico, and later Dive.<ref name="hymen" />{{sfn|Kilpatrick|2004|p=87}}<ref name="hymen">{{Cite web|url=http://www.hymen-records.com/vinylium/y014/y014.html|title=converter. coma. 12" 33rpm. may 1999|website=hymen-records.com|publisher=Hymen Records|archive-url=https://web.archive.org/web/20071111040126/http://www.hymen-records.com/vinylium/y014/y014.html|archive-date=2007-11-11|access-date=2017-09-16|df=mdy-all}}</ref> The term "power noise" was coined by Raoul Roucka of Noisex in 1997, with the track "United (Power Noise Movement)".<ref>{{Discogs release|127104|Noisex – ''Over and Out''}}</ref><ref>Vlad McNeally, review of Noisex, ''ReGen Magazine'', November 29, 2007. [http://www.regenmag.com/Reviews-1193-Noisex-Brain-on-Rotation.html] {{Webarchive|url=https://web.archive.org/web/20251006100936/http://www.regenmag.com/Reviews-1193-Noisex-Brain-on-Rotation.html |date=2025-10-06 }} Access date: August 8, 2008.</ref> Typically, power noise is based upon a distorted kick drum from a drum machine such as a Roland TR-909, uses militaristic 4/4 beats, and is usually instrumental. Sometimes a melodic component is added, but this is almost always secondary to the rhythm. Power noise tracks are typically structured and danceable, but are occasionally abstract. This genre is showcased at the annual Maschinenfest festival in Krefeld, Germany, as well as at Infest in Bradford, England. Other artists include Imminent Starvation, Axiome, Converter, and Terrorfakt. The German labels Ant-Zen and Hands Productions specialize in the style. ''Technoid'' grew out of the scene, taking inspiration from IDM, experimental techno and noise music. German label Hymen Records is responsible for the term and the style. Artists include Gridlock, Black Lung, Revolution State, and Xingu Hill.

=== Dark electro === '''Dark electro''' is a subgenre of electro-industrial, developed in the early 1990s in central Europe. The term describes groups such as yelworC<ref>Metropolis Records, yelworC bio. [https://www.metropolis-records.com/artists/?artist=yelworc] Access date: 24 October 2008.</ref> and Placebo Effect,<ref name="machens2">Interview with Axel Machens, Vendetta Music, 23 April 2007. [https://web.archive.org/web/20080703182520/http://vendetta-music.com/PHP/Interviews/Breathe_April07.php] Access date: 23 December 2008.</ref> and was first used in December 1992 with the album announcement of ''Brainstorming'', yelworC's debut.<ref>Zillo Music Magazine · Issue No. 12/92 · Album announcement of "Brainstorming" · Pages 43 · Germany · December 1992. The term was repeated in a review of the same album in Zillo Music Magazine · Issue No. 2/93 · Review of the album "Brainstorming" · Pages 49 · Germany · February 1993.</ref> The style was inspired by the music of The Klinik and Skinny Puppy. Compositions included gothic horror soundscapes, occult themes, and grunts or distorted vocals. yelworC were a music group from Munich, formed in 1988. They laid the foundations of the dark electro movement in the early 1990s, and were the first artist on the German label Celtic Circle Productions. In subsequent years, dark electro was displaced by techno-influenced styles such as aggrotech and futurepop.<ref name="machens2" /> Other groups to practice the style included amGod, Trial, early Evil's Toy, Mortal Constraint, Arcana Obscura, Splatter Squall, Seven Trees, Tri-State, and Ice Ages.

=== Aggrotech === [[File:13-03-23_e-tropolis_Centhron_01.jpg|thumb|German aggrotech band Centhron at e-tropolis 2013, Berlin]] '''Aggrotech''' (also known as '''hellektro''')<ref name="machens2" /> is a derivative form of dark-electro with a strong influence from industrial hardcore (straight techno bassdrum from Roland TR-909 and oscillator sounds, especially Supersaw leads from Roland JP-8000) that first surfaced in the mid- to late-1990s.

Aggrotech typically employs aggressive beats, prominent lead synth lines, and lyrics of a dark nature. Often, vocals are distorted and pitch-shifted to sound harsh and synthetic; static and glitching effects are also added. Aggrotech musicians include Agonoize, Amduscia, Bestias De Asalto, Combichrist, Dawn of Ashes, Detroit Diesel, Feindflug, God Module, Grendel, Hocico, iVardensphere, Nachtmahr, Panic Lift, Psyclon Nine, Reaper, Suicide Commando, The Retrosic, Ritual Aesthetic, Unter Null, Virtual Embrace, and X-Fusion, among many.

=== Futurepop === {{Main|Futurepop}} '''Futurepop''' is an electronic music genre originally emerging in the late 1990s, characterized as a blend of synth-pop, EBM and dance beats, based on trance and techno. The genre is associated with the cybergoth subculture.<ref name="Matzke/Seeliger">Peter Matzke, Tobias Seeliger: ''Das Gothic- und Dark-Wave-Lexikon.'' Schwarzkopf und Schwarzkopf, Berlin 2003, {{ISBN|3-89602-522-8}}, p. 230.</ref><ref name="Schmidt/Braun273">Axel Schmidt, Klaus Neumann-Braun: ''Die Welt der Gothics. Spielräume düster konnotierter Transzendenz.'' 2004, {{ISBN|3-531-14353-0}}. p. 273.</ref>

=== Techstep === {{Main|Techstep}} '''Techstep''' is a dark subgenre of drum and bass that was created in the mid-1990s.<ref>{{cite web |last=Frere-Jones |first=Sasha |date=1997-11-11 |title=But Then Again, Who Says It Should? |url=http://www.villagevoice.com/music/9745,212159,332,22.html |archive-url=https://archive.today/20120630085047/http://www.villagevoice.com/music/9745,212159,332,22.html |url-status=dead |archive-date=June 30, 2012 |access-date=2008-06-05 |publisher=Village Voice}}</ref>

=== Neurofunk === {{Main|Neurofunk}} '''Neurofunk''' (also known informally as '''neuro''') is a dark subgenre of drum and bass which emerged between 1997 and 1998 in London, England as a progression of techstep.

===Witch house=== {{main|Witch house (music genre)}} '''Witch house''' is a debated term referring to a fusion genre of electronic music that features a prominent hip-hop influence, specifically the 1990s Houston chopped and screwed sound pioneered by DJ Screw.<ref>{{Cite web |url=http://pitchfork.com/features/articles/7806-ghosts-in-the-machine/ |archive-url=https://web.archive.org/web/20100526113703/http://pitchfork.com/features/articles/7806-ghosts-in-the-machine/ |url-status=dead |archive-date=May 26, 2010 |title=Ghosts in the Machine |last=Colly |first=Joe |date=2010-05-24 |work=Pitchfork |access-date=2017-09-16 |df=mdy-all }}</ref><ref name="nashvillescene">{{Cite web |url=http://www.nashvillescene.com/music/article/13035268/new-genre-alert-which-house-witch-house |title='New' 'Genre' Alert: Which House? Witch House |last=Rodgers |first=D. Patrick |date=2010-08-25 |website=Nashville Scene |access-date=2017-09-16|df=mdy-all}}</ref> Witch house consists of applying techniques rooted in Swishahouse hip-hop – drastically slowed tempos with skipping, stop-timed beats<ref>{{Cite web |url=https://exclaim.ca/music/article/translator-witch_house |title=The Translator Witch House |last=Lindsay |first=Cam |date=2011-01-31 |website=Exclaim.ca |access-date=2017-09-16|df=mdy-all}}</ref> – with signifiers of noise, drone, or shoegaze, the genre recontextualizes its forebears into a sinister, unprecedented, yet aesthetically referential atmosphere.<ref>{{Cite web |url=http://www.imposemagazine.com/bytes/slow-motion-music |title=Slow Motion Music |last=Watson |first=William Cody |date=2010-09-12 |website=Impose Magazine |access-date=2017-09-16|df=mdy-all}}</ref> Witch house is also influenced by hazy 1980s goth bands, including Cocteau Twins, The Cure and Dead Can Dance,<ref name="guarding">{{Cite news |url=https://www.theguardian.com/music/musicblog/2010/mar/08/scene-heard-drag |title=Scene and heard: Drag |last=Wright |first=Scott |date=2010-03-09 |work=The Guardian |access-date=2017-09-16 |publisher=Guardian News and Media Limited |location=London |df=mdy-all}}</ref> as well as being heavily influenced by certain early industrial bands.<ref>{{Cite web |url=https://flavorwire.com/118771/haunted-a-witch-house-primer#more-118771|title=Haunted: A Witch House Primer|last=Marshalek|first=Russ|work=Flavorwire|date=2010-09-22|access-date=2017-09-16|df=mdy-all}}</ref><ref>{{cite web|url=https://www.nypress.com/brooklyns-vanishing-witch-house|title=Brooklyn's Vanishing Witch House|date=2010-08-25|access-date=2017-09-16|df=mdy-all|work=NY Press|last=Maness|first=Carter}}</ref> The use of hip-hop drum machines, noise atmospherics, creepy samples,<ref>{{Cite web |url=https://nyulocal.com/the-witch-house-debate-is-he-music-genre-wor-h-lis-en-de3671c4c711|title=The Witch House Debate: Is †he Music Genre Wor†h ∆ Lis†en?|work=NYU Local|date=2011-02-01|access-date=2017-09-16|last=Sokol|first=Zach|df=mdy-all}}</ref> synthpop-influenced lead melodies, and heavily altered or distorted vocals is also common.

==Sales== thumb|Nine Inch Nails live on tour in 2005

The best-selling offshoots of industrial music are industrial rock and metal; Ministry and Nine Inch Nails both recorded platinum-selling albums.<ref name=riaa/> Their success led to an increase in commercial success for some other post-industrial musicians; the Nine Inch Nails remix album ''Further Down the Spiral'', for example, which included contributions from Foetus and Coil, was certified gold in 1996.<ref name=riaa>{{cite web|url=https://www.riaa.com/gold-platinum/|title=Gold & Platinum|work=riaa.com|publisher=Recording Industry Association of America|access-date=2017-09-16|df=mdy-all}}</ref> {{Clear}}

==References== {{reflist|30em}}

=== Bibliography === {{Refbegin|colwidth=60em}} * {{cite book|last1=Vale|first1=V.|author-link=V. Vale|last2=Juno|first2=A.|year=1983|title=RE/Search #6-#7: Industrial Culture Handbook|location=San Francisco, CA|publisher=RE/SEARCH PUBLICATIONS|ref={{Sfnref|Vale & Juno|1983}}}} * {{cite book|first=Mick|last=Mercer|title=The Hex Files: The Goth Bible|location=Woodstock|publisher=The Overlook Press|year=1997}} * {{cite book|first=Dan|last=Sicko|title=Techno Rebels: The Renegades of Electronic Funk|url=https://archive.org/details/technorebelsrene00sick|url-access=registration|publisher=Billboard Books|year=1999|isbn=978-0-8230-8428-9 }} * {{cite book| first = Steven| last = Blush| author-link = Steven Blush| editor-first = George| editor-last = Petros| editor-link = George Petros| title = American Hardcore: A Tribal History | date = Oct 1, 2001| publisher = Feral House| isbn = 9780922915712}} * {{cite book|last=Reynolds|first=Simon|year=2005|title=Rip It Up And Start Again: Postpunk 1978-1984|url=https://archive.org/details/ripitupstartagai00reyn|url-access=registration|location= London|publisher=Faber and Faber Limited|isbn=978-0-571-21569-0 }} * {{Cite book |title=Concrete, Bulletproof, Invisible + Fried: My Life as a Revolting Cock |last=Connelly |first=Chris |year=2007 |location=London |publisher=SAF Publishing}} * {{cite magazine|last=Di Perna|first=Alan|year=1995|title=Jackhammer of the Gods|magazine=Guitar World|volume=15|number=6|pages=54–59, 61–62, 67, 69, 71}} * {{cite book|first=Nancy |last=Kilpatrick|title=The Goth Bible: A Compendium for the Darkly Inclined|url=https://archive.org/details/isbn_9780312306960 |url-access=registration |location=New York|publisher=St. Martin's Griffin|year=2004|chapter=Chapter 5: Music of the Macabre|isbn=978-0-312-30696-0 }} * {{cite book|last1=Reed|first1=S. Alexander|title=Assimilate: A Critical History of Industrial Music|year=2013|publisher=Oxford University Press|url=https://archive.org/details/assimilatecritic0000reed|url-access=registration}} {{Refend}}

==Further reading== {{Refbegin|30em}} * {{cite book|first=Paul|last=Hegarty|chapter=Full With Noise: Theory and Japanese Noise Music|pages=86–98|title=Life in the Wires|year=2004|editor-first1=Arthur|editor-last1=Kroker|editor-link=Arthur Kroker|editor-first2=Marilouise |editor-last2=Kroker|publisher=NWP CTheory Books|location=Victoria, Canada}} * {{cite book|first=Paul|last=Hegarty|title=Noise/Music: A History|year=2007|publisher=Continuum International Publishing Group}} * {{cite book|last=Kahn|first=Douglas|author-link=Douglas Kahn|title=Noise, Water, Meat: A History of Sound in the Arts|url=https://archive.org/details/pdfy-hs17kURvjNSVQQaG|year=1999|publisher=MIT Press}} * {{cite book|first=Brandon|last=LaBelle|title=Background Noise: Perspectives on Sound Art|year=2006|location=New York and London|publisher=Continuum International Publishing}} * {{cite book|editor-first1=Dan|editor-last1=Lander|editor-first2=Lexier|editor-last2=Micah|title=Sound by Artists|url=https://archive.org/details/soundbyartists00land|url-access=registration|year=1990|location=Toronto|publisher=Art Metropole/Walter Phillips Gallery|isbn=978-0-920956-23-6 }} * {{cite book|author-link=Alan Licht|first=Alan|last=Licht|title=Sound Art: Beyond Music, Between Categories|year=2007|location= New York|publisher=Rizzoli}} * {{cite book|author-link=Thurston Moore|first=Thurston|last=Moore|title= Mix Tape: The Art of Cassette Culture|year=2004|publisher= Universe}} * {{cite web|author-link=Joseph Nechvatal|first=Joseph|last=Nechvatal|title=Towards a Sound Ecstatic Electronica|year=2000|work=The Thing|url=https://post.thing.net/node/1981|access-date=2017-09-13|df=mdy-all}} * {{cite web|author-link=Amanda Petrusich|last=Petrusich|first=Amanda|date=2007-09-17|url=https://pitchfork.com/features/interview/6690-lou-reed/|title=Lou Reed|work=Pitchfork|access-date=2017-09-13|df=mdy-all}} * {{cite book|first=Jim|last=Samson|title=Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920|year=1977|location=New York|publisher=W.W. Norton & Company}} * {{cite book|editor=Brett Woodward|title=Merzbook: The Pleasuredome of Noise|year=1999|location=Melbourne, Cologne|publisher=Extreme}} {{Refend}}

==External links== * [https://noise.alphamanbeast.com/ alphamanbeast's noise directory] * [https://web.archive.org/web/20080430142150/http://www.rarevinyl.net/experimental.htm The Rare Vinyl Network :: The Birth of Experimental Music] The Birth of Experimental Music (pop music/experimental)

{{DEFAULTSORT:Post-Industrial Music}} Music Category:Industrial music Industrial music