In the 1980s, industrial splintered into a range of offshoots, sometimes collectively named post-industrial music.[1][citation needed] This list details some of these offshoots, including fusions with other experimental and
electronic music genres as well as
rock,
folk,
heavy metal and
hip hop. Industrial genres have spread worldwide and are particularly well represented in North America, Europe, and Japan.
Electro-Industrial draws on Electronic Body Music (EBM), and developed in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep, complex and layered sound. The style was pioneered by
Skinny Puppy,[25]Front Line Assembly, and
Wumpscut. In the mid-'90s, the style spawned the dark electro and aggrotech offshoots.[26] Other artists include
Haujobb,[27]Lab Report,[28] and
Leæther Strip.[29]
Japanoise (a blend of the words "Japanese" and "noise") is the
noise music scene of
Japan.[64][65] Popular and active in the 1980s and 1990s but continuing into the early 21st century, the Japanoise scene is defined by its sense of musical freedom: Groups range from the punk demolition of
Hanatarash[66] and its subsequent psychedelic
Boredoms evolutions,[67] to the tabletop electronics of
Incapacitants[68] and
Merzbow.[69] The scene was initially inspired by power electronics[70] and sometimes deals with
BDSM themes.[71] Nonetheless, Japanoise is often less serious than other post-industrial styles,[72] and some musicians, such as
Aube,[73] are also inspired by psychedelia or
space rock.
Neofolk is the music of artists like
Douglas Pearce of
Death In June,[74]Tony Wakeford of
Sol Invictus,[75] and
David Tibet of
Current 93,[76] who had collaborated with one another.[77][better source needed] These musicians comprised a post-industrial music circle who incorporated
folk music based on traditional European elements. Neofolk can be solely acoustic folk music or a blend of acoustic folk instrumentation with accompanying sounds, such as pianos, strings or elements of industrial music and
experimental music. The genre encompasses an assortment of themes including traditional music,
heathenry,
romanticism and
occultism. Neofolk musicians often have ties to other genres such as
martial industrial. Apocalyptic folk predates neofolk and was used by David Tibet for the music of his band
Current 93 during the late 1980s. Initially, Tibet did not intend to imply connection with the folk music genre; rather, that Current 93's music was made by "apocalyptic folk, or guys."[78]
Power electronics was originally coined by
William Bennett for the
noise music of his own project
Whitehouse.[70] It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics. Deeply
atonal, there are no conventional melodies or rhythms.[79] Members of Whitehouse who began other projects, such as
Sutcliffe Jügend, also practice power electronics.[80]Death industrial is a similar style associated with groups such as The Grey Wolves,[81] but the term first referred to artists such as
Brighter Death Now.[82] The Swedish label
Cold Meat Industry issued the releases in this subgenre.[82]
Power noise (also known as rhythmic noise) takes its inspiration from some of the more structured and distorted early industrial acts, such as
Esplendor Geométrico.[83] The Belgian group
Dive also anticipated the style in the early '90s.[83][84] Power noise groups meld noise music with various forms of
electronic dance music. The term "power noise" was coined by Raoul Roucka of
Noisex in 1997, with the track "United (Power Noise Movement)".[85][86] Typically, power noise is based upon a distorted kick drum from a drum machine such as a
Roland TR-909, uses militaristic 4/4 beats, and is usually instrumental. Sometimes a melodic component is added, but this is almost always secondary to the rhythm. Power noise tracks are typically structured and danceable, but are occasionally abstract. This genre is showcased at the annual
Maschinenfest festival in
Krefeld, Germany, as well as at
Infest in
Bradford, England. Other artists include Imminent Starvation, Axiome,
Converter, and
Terrorfakt. The German labels
Ant-Zen and Hands Productions specialize in the style. Technoid grew out of the scene, taking inspiration from
IDM, experimental techno and noise music. German label Hymen Records is responsible for the term and the style. Artists include
Gridlock,
Black Lung, Revolution State, and
Xingu Hill.
Witch house is a debated term referring to a fusion genre of
electronic music that features a prominent
hip-hop influence, specifically the 1990s Houston
chopped and screwed sound pioneered by
DJ Screw.[87][88] Witch house consists of applying techniques rooted in
Swishahouse hip-hop – drastically slowed tempos with skipping,
stop-timed beats[89] – with signifiers of
noise,
drone, or
shoegaze, the genre recontextualizes its forebears into a sinister, unprecedented, yet aesthetically referential atmosphere.[90] Witch house is also influenced by hazy 1980s
goth bands, including
Cocteau Twins,
The Cure and
Dead Can Dance,[91] as well as being heavily influenced by certain early
industrial bands.[92][93] The use of hip-hop drum machines, noise atmospherics, creepy samples,[94]synthpop-influenced lead melodies, and heavily altered or distorted vocals is also common.
Sales
The best-selling offshoots of industrial music are industrial rock and metal; Ministry and Nine Inch Nails both recorded
platinum-selling albums.[95] Their success led to an increase in commercial success for some other post-industrial musicians; the Nine Inch Nails remix album Further Down the Spiral, for example, which included contributions from
Foetus and
Coil, was certified gold in 1996.[95]
References
^Partridge, Christopher; Moberg, Marcus: Industrial, Post-industrial and Neofolk music, The Bloomsbury Handbook of Popular Music, Bloomsbury Academic 2017,
ISBN1-474-23733-9, 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'."
Hegarty, Paul (2004). "Full With Noise: Theory and Japanese Noise Music". In
Kroker, Arthur; Kroker, Marilouise (eds.). Life in the Wires. Victoria, Canada: NWP
Ctheory Books. pp. 86–98.
Hegarty, Paul (2007). Noise/Music: A History. Continuum International Publishing Group.