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Though [[electric guitars]] had been used by industrial groups like [[Throbbing Gristle]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]] since the early days of the genre, it wasn't until the late-[[1980s]] that industrial and metal began to fuse into a common genre. The industrial metal scene was the result of the convergence of a number of different musical trends, although the British band [[Killing Joke]] is generally considered a pioneer of [[industrial rock]] and was a major influence on many industrial metal bands. Coming out of the late 70's/early 80's, their sound, considered [[post-punk]] at the time, combined dark punk / quasi-metallic post-punk with synthesizers and rhythms that alternated between dance (a disco influence), thrash, and tribal. [[Big Black]] can also be considered a great influence on the industrial metal sound. Finally, the band [[Chrome (band)|Chrome]] has been mixing punk with [[psychedelic rock]] and [[tape music]] experiments since the late 70s.<ref>Reynolds 2005, pages 257 & 258.</ref> Although they are considered to be very influential by artists within the genre, they are often overlooked by fans.{{Fact|date=June 2008}}
Though [[electric guitars]] had been used by industrial groups like [[Throbbing Gristle]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]] since the early days of the genre, it wasn't until the late-[[1980s]] that industrial and metal began to fuse into a common genre. The industrial metal scene was the result of the convergence of a number of different musical trends, although the British band [[Killing Joke]] is generally considered a pioneer of [[industrial rock]] and was a major influence on many industrial metal bands. Coming out of the late 70's/early 80's, their sound, considered [[post-punk]] at the time, combined dark punk / quasi-metallic post-punk with synthesizers and rhythms that alternated between dance (a disco influence), thrash, and tribal. [[Big Black]] can also be considered a great influence on the industrial metal sound. Finally, the band [[Chrome (band)|Chrome]] has been mixing punk with [[psychedelic rock]] and [[tape music]] experiments since the late 70s.<ref>Reynolds 2005, pages 257 & 258.</ref> Although they are considered to be very influential by artists within the genre, they are often overlooked by fans.{{Fact|date=June 2008}}


A number of electronic bands had begun to add elements of metal to their music, with [[Ministry (band)|Ministry's]] ''[[The Land of Rape and Honey]]'' and [[Godflesh]]'s [[Godflesh (EP)|self-titled EP]] at the forefront (both released in [[1988]]). Ministry's inclusion of [[thrash metal]] guitar [[riffs]] on "Stigmata", "The Missing", and "Deity" proved to be a watershed event. Subsequent albums, ''[[The Mind is a Terrible Thing to Taste]]'' and ''[[Psalm 69: The Way to Succeed and the Way to Suck Eggs|ΚΕΦΑΛΗΞΘ]]'' (commonly referred to as simply "Psalm 69"), would establish Ministry as a premier industrial metal act. [[Godflesh]] went their own way, melding [[Black Sabbath (band)|Black Sabbath]] with [[Swans (band)|Swans]]'s crawling pace, topped with [[Throbbing Gristle]]-like [[white noise]] blasts. Though not a top-seller compared to [[Ministry (band)|Ministry]], [[Godflesh]] nonetheless became an influential act, their name mentioned by [[KoЯn]],<ref name= yates2001>Yates 2001, pages 19.</ref> [[Metallica]],<ref>Alexander 1995, page 52.</ref> [[Danzig (band)|Danzig]],<ref>{{cite journal |url= http://www.the7thhouse.com/news/Articles/seconds44.htm |title= DANZIG - Seconds Magazine #44|author= Blush, Steven |date=October 1997|accessdate= 2007-08-30}} Archived at [http://www.the7thhouse.com www.The7thHouse.com].</ref> [[Faith No More]] and [[Fear Factory]].<ref name= yates2001>Yates 2001, pages 19.</ref>
A number of electronic bands had begun to add elements of metal to their music, with [[Ministry (band)|Ministry's]] ''[[The Land of Rape and Honey]]'' and [[Godflesh]]'s [[Godflesh (EP)|self-titled EP]] at the forefront (both released in [[1988]]). Ministry's inclusion of [[thrash metal]] guitar [[riffs]] on "Stigmata", "The Missing", and "Deity" proved to be a watershed event. Subsequent albums, ''[[The Mind is a Terrible Thing to Taste]]'' and ''[[Psalm 69: The Way to Succeed and the Way to Suck Eggs|ΚΕΦΑΛΗΞΘ]]'' (commonly referred to as simply "Psalm 69"), would establish Ministry as a premier industrial metal act. Godflesh went their own way, melding [[Black Sabbath (band)|Black Sabbath]] with [[Swans (band)|Swans]]'s crawling pace, topped with [[Throbbing Gristle]]-like [[white noise]] blasts. Though not a top-seller compared to Ministry, Godflesh nonetheless became an influential act, their name mentioned by [[KoЯn]],<ref name= yates2001>Yates 2001, pages 19.</ref> [[Metallica]],<ref>Alexander 1995, page 52.</ref> [[Danzig (band)|Danzig]],<ref>{{cite journal |url= http://www.the7thhouse.com/news/Articles/seconds44.htm |title= DANZIG - Seconds Magazine #44|author= Blush, Steven |date=October 1997|accessdate= 2007-08-30}} Archived at [http://www.the7thhouse.com www.The7thHouse.com].</ref> [[Faith No More]] and [[Fear Factory]].<ref name= yates2001>Yates 2001, pages 19.</ref>


At the same time, [[KMFDM]] was bringing metal influences to its guitars in singles like [[1989|1989's]] ''[[Virus (single)|Virus]]'' and [[1990s]] ''[[Godlike (album)|Godlike]]''. In 1990, Killing Joke released the explosive ''Extremities, Dirt And Various Repressed Emotions'', which built the band's earlier dark, brooding sound and electronic experiments into an industrial metal sound. A final element was added by a number of technologically advanced bands within the metal scene, spearheaded by Canadians, [[Voivod (band)|Voivod]].
At the same time, [[KMFDM]] was bringing metal influences to its guitars in singles like [[1989|1989's]] ''[[Virus (single)|Virus]]'' and [[1990s]] ''[[Godlike (album)|Godlike]]''. In 1990, Killing Joke released the explosive ''Extremities, Dirt And Various Repressed Emotions'', which built the band's earlier dark, brooding sound and electronic experiments into an industrial metal sound. A final element was added by a number of technologically advanced bands within the metal scene, spearheaded by Canadians, [[Voivod (band)|Voivod]].

Revision as of 15:24, 27 June 2008

Industrial metal
Stylistic originsIndustrial rock, Thrash metal, Hardcore punk, EBM, Noise rock
Cultural originsLate 1980s, United States, United Kingdom, Germany
Typical instrumentsElectric guitar − Bass guitar − Synthesizer − Found objects − Drum machine − Drums − Sequencer − Keyboard − Sampler
Derivative formsNeue Deutsche Härte - Tanz-Metall - Aggro-industrial
Subgenres
Coldwave - Cyber metal
(complete list)
Other topics
Bands − Labels

Industrial metal is a musical genre that draws elements from industrial music and heavy metal. Industrial metal music is usually centered around repetitive metal guitar riffs, sampling, synthesizer/sequencer lines and distorted vocals.[1] This term is used quite loosely, describing everything from industrial rock bands sampling metal riffs (such as The Young Gods[citation needed]) to heavy metal groups augmented with sequencers and drum machines. Industrial metal encompasses industrial subgenres such as aggro-industrial and coldwave (see List of post-industrial music genres and related fusion genres) and often overlaps some elements of nu metal and post-punk.

History

Early innovators

Though electric guitars had been used by industrial groups like Throbbing Gristle and Cabaret Voltaire since the early days of the genre, it wasn't until the late-1980s that industrial and metal began to fuse into a common genre. The industrial metal scene was the result of the convergence of a number of different musical trends, although the British band Killing Joke is generally considered a pioneer of industrial rock and was a major influence on many industrial metal bands. Coming out of the late 70's/early 80's, their sound, considered post-punk at the time, combined dark punk / quasi-metallic post-punk with synthesizers and rhythms that alternated between dance (a disco influence), thrash, and tribal. Big Black can also be considered a great influence on the industrial metal sound. Finally, the band Chrome has been mixing punk with psychedelic rock and tape music experiments since the late 70s.[2] Although they are considered to be very influential by artists within the genre, they are often overlooked by fans.[citation needed]

A number of electronic bands had begun to add elements of metal to their music, with Ministry's The Land of Rape and Honey and Godflesh's self-titled EP at the forefront (both released in 1988). Ministry's inclusion of thrash metal guitar riffs on "Stigmata", "The Missing", and "Deity" proved to be a watershed event. Subsequent albums, The Mind is a Terrible Thing to Taste and ΚΕΦΑΛΗΞΘ (commonly referred to as simply "Psalm 69"), would establish Ministry as a premier industrial metal act. Godflesh went their own way, melding Black Sabbath with Swans's crawling pace, topped with Throbbing Gristle-like white noise blasts. Though not a top-seller compared to Ministry, Godflesh nonetheless became an influential act, their name mentioned by KoЯn,[3] Metallica,[4] Danzig,[5] Faith No More and Fear Factory.[3]

At the same time, KMFDM was bringing metal influences to its guitars in singles like 1989's Virus and 1990s Godlike. In 1990, Killing Joke released the explosive Extremities, Dirt And Various Repressed Emotions, which built the band's earlier dark, brooding sound and electronic experiments into an industrial metal sound. A final element was added by a number of technologically advanced bands within the metal scene, spearheaded by Canadians, Voivod.

Later developments

Germany

More recently, groups like Rammstein and Oomph! have taken inspiration from electronic music as well as industrial and metal to create a new genre called Neue Deutsche Härte (New German Hardness)[citation needed],"Tanz-Metall" or "dance metal"[citation needed].

USA

Industrial metal blossomed in the early 1990s, particularly in North America, where it would eventually sell close to 35 million units.[6][7] A number of metal groups - Megadeth, Pantera, Anthrax and White Zombie - requested remixes by "industrial" artists.[8] The original strain of industrial metal became known as aggro-industrial, while a new form featuring punk- and hardcore-influenced guitars and more pronounced synthesizer accompaniment became known as coldwave. Nine Inch Nails, an industrial rock band formed by Trent Reznor, brought the genre to a much more mainstream audience by releasing primary industrial albums such as Broken & The Downward Spiral accompanied by their groundbreaking performance at the 1994 Woodstock. Prominent coldwave bands included Chemlab, 16 Volt, and Acumen (later Acumen Nation), though more recently, Acumen Nation has nearly dropped all electronics in favor of a more metal sound. In Europe, some groups such as Young Gods and Swamp Terrorists would create industrial metal without live guitars, relying wholly on samplers. Several established groups adopted industrial-metal techniques around this period, either temporarily or permanently, including Skinny Puppy (on the Jourgensen-produced Rabies), Front Line Assembly, and Die Krupps.

A particular breed of bands in that period leaned the sound's style toward extreme metal. An example of that is Los Angeles, CA group Fear Factory,[9] who were largely influenced by the Earache roster (namely Godflesh, Napalm Death and Bolt Thrower).[10] Fear Factory eventually downplayed their grindcore and death metal roots in favor of groove metal (Demanufacture, 1995) and nu metal (Obsolete, 1998).

A lesser known example of industrial death metal is Meathook Seed, a side-project originally manned by members of Napalm Death and the Tampa Bay, FL death metal group Obituary. A self-confessed industrial music fan, Obituary guitarrist Trevor Peres suggested the use of drum machines in The End Complete (1992),[11] Obituary's most successful album to date.[12] The other band members refused participating in such experimentation; so, as an outlet, he formed the Meathook Seed side-project.[11]

The influence of industrial metal has permeated throughout the heavy metal genre, with a number of bands accenting their live instrumentation with industrial programming and sampling. Fear Factory is one of the most notable, incorporating electronic elements from a very early stage and often being produced by Rhys Fulber of Front Line Assembly. Devin Townsend's metal band, Strapping Young Lad, also features pronounced industrial-metal aspects. Many contemporary metal/nu metal groups, drawing influences from industrial, hip hop, and electronic music, have incorporated samplers and sequencers. As a result, acts like Rob Zombie, Static-X, Powerman 5000, Monster Voodoo Machine and Dope are often, though inconsistently, included in industrial metal.

Subgenres

Coldwave

See main article: Coldwave

Cyber metal

Cyber metal is a musical subgenre that draws influence from post-industrial music, industrial metal, and extreme metal, particularly death metal and black metal. Cyber metal music was first used to describe the music of bands such as The Kovenant because of the seeming divergence in sound from industrial metal. While industrial metal keeps a repetitive thrashing guitar, cyber metal tends to incorporate various abstract 'space' electronic music and heavier influence from avant-garde music. It also tends to be more abrasive than industrial metal, being a genre based on heavier vocals, such as the death growl.[citation needed]

Wavering Popularity

Decline in America

While industrial metal was riding high on the American charts of the late 1990s and early 2000s, specific quarters of the music press were mounting a backlash against the genre.

This attitude is best represented by music critic Jim DeRogatis. In an April 2000 review for the Chicago Sun Times, DeRogatis dismissed Nine Inch Nail's new music as a "generic brand of industrial thrash" and accused Ministry of repeating an act that "was old by 1992".[13] Although The Fragile reached the top spot of the Billboard 200[14] and went on to earn a double platinum status,[7] DeRogatis considered it a "flop", nonetheless.[13]

A myriad of other reasons could support Jim DeRogatis's line of thinking:

Boom in Europe

Parallel to the "i-rock" decline in North America, Europe belched forth its own brand of electro-metal. Germany's Neue Deutsche Härte, in particular, has had success in Continental Europe. Its leading light, Rammstein, has sold nearly 4 million records in Germany alone, while racking up gold (and platinum) records in Sweden, Austria, Belgium, the Netherlands, Switzerland, Denmark, Norway, Poland and the Czech Republic.[21][22][23][24][25][26][27][28][29][30][31]

Other like-minded German musicians have climbed the charts as well. NDH pioneers Oomph! have achieved a gold record for their Augen Auf! single on Austria and Germany.[32][33] Eisbrecher's debut entered at #13 on the Deutschen Alternative Top 20 Chart, while the group's second album (Antikörper) reached the #85 position on the German main chart.[34][35]

Scandinavian acts such as Deathstars, Gothminister and The Kovenant have been met with a degree of underground success. The sophomore Deathstars album, Termination Bliss, landed on #87 in the German Media Control Chart.[36] They toured with gothic metal stahlwarts Paradise Lost and Lacuna Coil; in September 2007, they were the opening act of KoЯn's European tour.[37] Gothminister's debut single "Angel" entered the top 10 Deutschen Alternative Charts.[38] The Kovenant won two Spellemann awards, the Norwegian equivalent to the Grammys.[39][40]

Examples of industrial metal

Some better known industrial metal bands include:

See also: List of industrial metal bands

Examples of cyber metal

Artists, which by some are referred to as cybermetal, include:

Record labels

External links

See also: Cybergrind

Notes

  1. ^ "Industrial Metal". allmusic. Retrieved 2008-02-11. {{cite web}}: External link in |publisher= (help)
  2. ^ Reynolds 2005, pages 257 & 258.
  3. ^ a b Yates 2001, pages 19.
  4. ^ Alexander 1995, page 52.
  5. ^ Blush, Steven (October 1997). "DANZIG - Seconds Magazine #44". Retrieved 2007-08-30. {{cite journal}}: Cite journal requires |journal= (help) Archived at www.The7thHouse.com.
  6. ^ "Search Certification Database". Canadian Recording Industry Association (CRIA). Retrieved 2008-06-27. {{cite web}}: External link in |publisher= (help)
  7. ^ a b "GOLD AND PLATINUM - Searchable Database". RIAA. Retrieved 2007-12-12. {{cite web}}: External link in |publisher= (help)
  8. ^ Arnopp 1993, page 41.
  9. ^ Huey, Steve. "( Fear Factory > Biography )". allmusic. Retrieved 2008-06-18. {{cite web}}: External link in |publisher= (help)
  10. ^ Cordero, Amber (Director) (December 18). Fear Factory: Digital Connectivity (motion picture). United States of America: Roadrunner Records. {{cite AV media}}: Check date values in: |date= and |year= / |date= mismatch (help)
  11. ^ a b Arnopp, Jason (1993). Industrial Metal: A User's Guide. Kerrang! 462: 44.
  12. ^ "It's Official: CANNIBAL CORPSE Are The Top-Selling Death Metal Band Of The SoundScan Era". BLABBERMOUTH.NET. 2003-11-17. Retrieved 2008-06-01. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  13. ^ a b DeRogatis, Jim (April 2000). "Nine Inch Nails stuck in the '90s". Chicago Sun Times. Retrieved 2007-08-24. Archived at The NIN Hotline. Cite error: The named reference "jdr2000" was defined multiple times with different content (see the help page).
  14. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008-05-09. {{cite web}}: External link in |publisher= (help)
  15. ^ Pettigrew 1996, page 46.
  16. ^ Martin 2004, page 25.
  17. ^ Di Perna 1995, page 35.
  18. ^ Hochman 1997, page 21.
  19. ^ Considered only are the artists have earned either gold or platinum certifications from the RIAA. This short list includes Björk, Fatboy Slim, Moby, Portishead, The Chemical Brothers, The Crystal Method and The Prodigy.
  20. ^ Hermes 2005, page 226.
  21. ^ "Gold/Platin Datenbank durchsuchen". www.ifpi.de - Die deutschen Phonoverbände. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  22. ^ "GULD & PLATINA - År 2004". IFPI. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  23. ^ "Gold und Platin Datenbank". IFPI Austria, Verband der Österreichischen Musik Wirstchaft. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  24. ^ "Belgium Database". Charts français. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  25. ^ "Goud/Platina Muziek". nvpi. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  26. ^ "Search for: Rammstein". The Official Swiss Charts and Music Community. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  27. ^ "Guld og platin". IFPI Danmark - IFPI.dk. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  28. ^ "SØK I TROFÉER". IFPI Norsk platebransje. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  29. ^ "Platinium certification awards". Związek Producentów Audio-Video. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  30. ^ "Gold certification awards". Związek Producentów Audio-Video. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  31. ^ "TIMELINE: October 28, 2005". RAMMSTEIN :: News. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  32. ^ "Gold und Platin Datenbank". IFPI Austria, Verband der Österreichischen Musik Wirstchaft. Retrieved 2008-05-07. {{cite web}}: External link in |publisher= (help)
  33. ^ "Gold/Platin Datenbank durchsuchen". www.ifpi.de - Die deutschen Phonoverbände. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  34. ^ "Former MEGAHERZ Duo Launch EISBRECHER". BLABBERMOUTH.NET. 2004-05-24. Retrieved 2007-08-24. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  35. ^ "EISBRECHER: 'Antikörper' Enters German Chart At No. 85". BLABBERMOUTH.NET. 2006-11-02. Retrieved 2007-08-24. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  36. ^ "DEATHSTARS: 'Virtue To Vice' Video Posted Online". BLABBERMOUTH.NET. June 13, 2007 2007-06-13. Retrieved 2007-10-07. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  37. ^ "News Library: Live". Nuclear Blast Europe. September 2007. Retrieved 2007-10-10. {{cite web}}: External link in |publisher= (help)
  38. ^ Pettersen, Tomas Lauvland (2008-04-04). "Gothminister heads out on European tour". Norsk musikkinformasjon. Retrieved 2008-06-17. {{cite web}}: External link in |publisher= (help)
  39. ^ "IFPI Norsk platebransje". Spellemannprisen. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  40. ^ "Spellemannsprisen - the Norwegian equivalent to the Grammy Awards". MIC - Musikkinformasjonssenteret. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)

References

  • Alexander, Phil (1995). Alien Soundtracks! Kerrang! 528: 52-3.
  • Chantler, Chris (2002). Splitting heirs. Terrorizer, 96: 54-5.
  • Di Perna, Alan (1995). White Zombie: zombies gave me lunch! Guitar World, 15(6): 33, 35-6, 38, 40, 46, 170, 172.
  • Fergunson, Paul (1993). Terror against terror: Lustmord's dancefloor coup. Industrial Nation, 7: 53-7.
  • Gill, Chris; Rotondi, James (1996). Heady metal. Guitar Player, 30(3): 74-82.
  • Hermes, Will (2005). Electronica: Beats for Fun and Profit. In W. Hermes & S. Michel. (Eds). Spin: 20 Years of Alternative Music (pp. 224-229). New York: Three Rivers Press.
  • Hochman, Steve (1997). Rock & roll: hype or hope? Rolling Stone, 756: 20-1.
  • Martin, Jim (2004). Sadness will prevail. Terrorizer, 123: 24-5.
  • Mörat (1992). Ye gods! Kerrang!, 411: 12.
  • Pettigrew, Jason (1996). Watch yourself and watch what you say. Alternative Press, 92: 44-51.
  • Reynolds, Simon (2005). Rip it up and start again: postpunk 1978-1984. London: Faber and Faber Limited.
  • Sharp, Chris (1999). Atari Teenage Riot: 60 second wipe out. The Wire, 183: 48-9.
  • Stud, B., Stud, T. (1987). Heaven up here. Melody Maker, June 20th: 26-7.
  • Vale, Vivian; Juno, Andrea (1983). RE/Search #6-#7: Industrial culture handbook. San Francisco, CA: RE/SEARCH PUBLICATIONS.
  • Yates, Catherine (2001). Souls of a New Machine. Kerrang! 871: 18-20.
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