Industrial metal: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
Line 29: Line 29:
Ministry emerged from the scene surrounding [[Wax Trax! Records]], a Chicago label dedicated to industrial music.<ref name=b223>Blush 2001, page 223.</ref> Ministry's initial foray into guitar rock happened during a recording session of ''The Land of Rape and Honey'' on [[Southern Studios]], in London.<ref>Gill 1996, page 88.</ref> The band's frontman, the Cuban-born [[Al Jourgensen]], explained this transition:
Ministry emerged from the scene surrounding [[Wax Trax! Records]], a Chicago label dedicated to industrial music.<ref name=b223>Blush 2001, page 223.</ref> Ministry's initial foray into guitar rock happened during a recording session of ''The Land of Rape and Honey'' on [[Southern Studios]], in London.<ref>Gill 1996, page 88.</ref> The band's frontman, the Cuban-born [[Al Jourgensen]], explained this transition:


{{cquote|Rediscovering the guitar on this record was almost like the first day I got my [[Fairlight CMI|Fairlight]]. The possibilities just seemed endless on something that had seemed so limiting before. That's really funny. I started out as a guitarist, but I hadn't really touched a guitar in five years. Then I heard that first [[Audio feedback|feedback]] come out of the [[Marshall Amplification|Marshall]] [[Guitar amplifier|stack]] and all of a sudden it was like there was a whole new parameter within guitar playing itself &mdash; especially in combination with sounds that you get out of a [[Electronic keyboard|keyboard]].<ref>Anonymous 1989, page 49.</ref>}}
{{cquote|Rediscovering the guitar on this record was almost like the first day I got my [[Fairlight CMI|Fairlight]]. The possibilities just seemed endless on something that had seemed so limiting before. That's really funny. I started out as a guitarist, but I hadn't really touched a guitar in five years. Then I heard that first [[Audio feedback|feedback]] come out of the [[Marshall Amplification|Marshall]] [[Guitar amplifier|stack]] and all of a sudden it was like there was a whole new parameter within guitar playing itself &mdash; especially in combination with sounds that you get out of a [[Electronic keyboard|keyboard]].<ref>"The Ministry of Noise," 1989, page 49.</ref>}}
[[Image:Rev cocks.jpg|thumb|left|Al Jourgensen with Revolting Cocks]]
[[Image:Rev cocks.jpg|thumb|left|Al Jourgensen with Revolting Cocks]]
Jourgensen seemed particularly fond of [[thrash metal]]. After the release of ''Land'' he recruited guitarist [[Mike Scaccia]] from Texas thrashers [[Rigor Mortis (band)|Rigor Mortis]], something that surprised Scaccia himself.{{fact|date=Feburary 2009}} On one occasion, Jourgensen told the press that [[Sepultura]] were his favorite band.<ref>Barcinski 1992, page 27.</ref> He also expressed the desire to produce a [[Metallica]] album.<ref>Gitter 1990, page 77.</ref> Jourgensen's interest in [[Electronic dance music|dance-oriented electronic music]] did not entirely fade, however; he also formed the side-project [[Revolting Cocks]], a more [[electronic body music]]-inflected collaboration with Richard 23 of [[Front 242]].<ref>{{cite web|url= http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:j9fuxqe5ld6e~T1|title= (((Revolting Cocks > Biography)))|author= Jeffries, David|publisher= [http://www.allmusic.com allmusic]|accessdate= 2008-09-08}}</ref>
Jourgensen seemed particularly fond of [[thrash metal]]. After the release of ''Land'' he recruited guitarist [[Mike Scaccia]] from Texas thrashers [[Rigor Mortis (band)|Rigor Mortis]], something that surprised Scaccia himself.{{fact|date=Feburary 2009}} On one occasion, Jourgensen told the press that [[Sepultura]] were his favorite band.<ref>Barcinski 1992, page 27.</ref> He also expressed the desire to produce a [[Metallica]] album.<ref>Gitter 1990, page 77.</ref> Jourgensen's interest in [[Electronic dance music|dance-oriented electronic music]] did not entirely fade, however; he also formed the side-project [[Revolting Cocks]], a more [[electronic body music]]-inflected collaboration with Richard 23 of [[Front 242]].<ref>{{cite web|url= http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:j9fuxqe5ld6e~T1|title= (((Revolting Cocks > Biography)))|author= Jeffries, David|publisher= [http://www.allmusic.com allmusic]|accessdate= 2008-09-08}}</ref>

Revision as of 10:55, 21 February 2009

For the commodity, see Base metal.
Industrial metal
Stylistic originsIndustrial music, industrial rock, EBM, electro-industrial, noise rock, hardcore punk, thrash metal
Cultural originsLate 1980s, United States, United Kingdom, Germany, Canada, Switzerland
Typical instrumentsElectric guitar − Bass guitar − Synthesizer − Found objects − Drum machine − Drums − Sequencer − Keyboard − Sampler
Derivative formsNeue Deutsche Härte - Cyber metal

(complete list)
Fusion genres
Industrial black metal
Regional scenes
Europe
Other topics
Bands − Labels

Industrial metal is a musical genre that draws from industrial music and heavy metal, using repeating metal guitar riffs, sampling, synthesizer or sequencer lines, and distorted vocals.[1] Founding industrial metal groups include Ministry,[2] Godflesh,[3] and KMFDM.[2] Eventually it reached a mass audience, led by the "one-man-band" Nine Inch Nails.[4]

Industrial metal's new-found popularity led to some criticism from other artists associated with the industrial scene. Subsequently, it is most well-known in various European permutations. Industrial metal groups have produced many acclaimed music videos, and the impact of the style has been reflected in many other genres of music, including hardcore punk, glam metal, and hip-hop.

History

Early innovators

Sascha Konietzko in concert, 2005

Though electric guitars had been used by industrial artists since the early days of the genre,[2] archetypal industrial groups such as Throbbing Gristle displayed a strong anti-rock stance.[5] British post-punk band Killing Joke pioneered the crossing over between styles,[6] and was an influence on major industrial metal bands such as Ministry, Godflesh and Nine Inch Nails.[7] Another pioneer industrial rock group, Big Black, also impacted some later groups.[6][8]

By the late 1980s industrial and heavy metal began to fuse into a common genre,[2] with Godflesh's self-titled EP[3] and Ministry's The Land of Rape and Honey at the forefront. Godflesh was founded by former Napalm Death guitarist Justin Broadrick.[9] Drawing from a wide array of influences — power electronics forefathers Whitehouse,[10] noise rock band Swans,[11] ambient music creator Brian Eno[9] and fellow Birmingham hard rockers Black Sabbath[12]—the Godflesh sound was once described as "Pornography-era Cure on Quaaludes".[13] Though not a top-seller,[14] Godflesh nonetheless became an influential act, their name mentioned by Korn,[15] Metallica,[16] Danzig,[17] Faith No More,[18] and Fear Factory.[15]

Ministry emerged from the scene surrounding Wax Trax! Records, a Chicago label dedicated to industrial music.[19] Ministry's initial foray into guitar rock happened during a recording session of The Land of Rape and Honey on Southern Studios, in London.[20] The band's frontman, the Cuban-born Al Jourgensen, explained this transition:

Rediscovering the guitar on this record was almost like the first day I got my Fairlight. The possibilities just seemed endless on something that had seemed so limiting before. That's really funny. I started out as a guitarist, but I hadn't really touched a guitar in five years. Then I heard that first feedback come out of the Marshall stack and all of a sudden it was like there was a whole new parameter within guitar playing itself — especially in combination with sounds that you get out of a keyboard.[21]

Al Jourgensen with Revolting Cocks

Jourgensen seemed particularly fond of thrash metal. After the release of Land he recruited guitarist Mike Scaccia from Texas thrashers Rigor Mortis, something that surprised Scaccia himself.[citation needed] On one occasion, Jourgensen told the press that Sepultura were his favorite band.[22] He also expressed the desire to produce a Metallica album.[23] Jourgensen's interest in dance-oriented electronic music did not entirely fade, however; he also formed the side-project Revolting Cocks, a more electronic body music-inflected collaboration with Richard 23 of Front 242.[24]

Industrial metal blossomed in the early 1990s, particularly in North America,[25] where it would eventually sell close to 35 million units.[26][27]

German band KMFDM are another seminal industrial metal group. Although not a metal fan, KMFDM leader Sascha Konietzko's "infatuation with ripping off metal licks" stemmed from his buying of E-mu's Emax sampler in late 1986. He told Guitar World that,

It was just interesting to use it as a kind of white noise reinforcement for our music. All of a sudden heavy metal was free from all those tempo changes and boring attitudes it always had. What I always hated most about heavy metal was that the best riffs came only once and were never repeated. So the fascination, actually, was to sample a great riff, loop it, and play it over and over again.[2]

A Swiss trio, The Young Gods brushed with the style on their second album, L'Eau Rouge (1989). Prior to its release, singer Franz Treichler declared:

We just wanted to hear guitars. We missed the attack of 'Envoyé'. That's what we want to hear right now, pure power. A metal sound that isn't revivalist, isn't biker style, speed metal style, any style, just WHAP![28]

Trent Reznor during the 1991 Lollapalooza festival

Pigface, formed by Martin Atkins and including Ministry drummer Bill Rieflin, emerged as an industrial metal collective of sorts, participating with many figures from the noise rock and industrial worlds.[29] Nine Inch Nails, the "one-man-band" formed by Trent Reznor, brought the genre to mainstream audience by releasing albums such as the Grammy-awarded Broken[30] and the best-selling The Downward Spiral, accompanied by their groundbreaking performance at the 1994 Woodstock. The rivethead subculture also developed at this time,[31] along with the so-called "coldwave" subgenre, which encompassed Chemlab, 16 Volt, and Acumen Nation.[32] Some electro-industrial groups adopted industrial metal techniques in this period, including Skinny Puppy (on the Jourgensen-produced Rabies) and Front Line Assembly.[citation needed]

Extreme industrial metal

Some musicians emerging from the death metal scene began to experiment with industrial. These included Fear Factory, Nailbomb, and Meathook Seed. Fear Factory, from Los Angeles,[33] were initially influenced by the Earache roster (namely Godflesh, Napalm Death and Bolt Thrower).[34] Sepultura singer Max Cavalera's Nailbomb, a collaboration with Alex Newport, also practiced a combination of extreme metal and industrial production techniques.[35] A lesser-known example of industrial death metal is Meathook Seed, made up of members of Napalm Death and the Florida death metal group Obituary. An industrial music fan, Obituary guitarist Trevor Peres suggested drum machines for The End Complete,[36] Obituary's most successful album.[37] The other band members' refusal led him to form Meathook Seed.[36]

The influence of industrial metal has permeated throughout the heavy metal genre. A number of successful metal groups - Megadeth, Pantera, Anthrax and White Zombie - requested remixes by "industrial" artists.[38] Devin Townsend's Strapping Young Lad also worked in this vein. Many contemporary groups, drawing influences from industrial, hip hop, and electronic music, have incorporated samplers and sequencers. As a result, acts like Rob Zombie, Powerman 5000, Monster Voodoo Machine and Dope are often described as industrial metal.[citation needed]

Commercial rise

Main article: Industrial rock sales and awards

Industrial metal first became a commercial force in 1992 when Nine Inch Nails' Broken and Ministry's Psalm 69 went platinum in America, albeit the latter took three years to reach platinum status.[27] Both groups were nominated for the Best Metal Performance in the 1992 Grammy Awards, with Nine Inch Nails winning.[30] Two years later, Nine Inch Nails released The Downward Spiral, which debuted on #2,[39] and would eventually go quadruple-platinum.[27]

Industrial metal reached its commercial zenith in the latter half of the 1990s - according to the RIAA databases, its top-selling artists sold around 17.5 million units combined.[27][40] Records by major industrial metal artists routinely debuted on the top spots of the Billboard 200 chart: Rob Zombie's Hellbilly Deluxe (#5),[41] Marilyn Manson's Mechanical Animals (#1),[42] and Nine Inch Nails' The Fragile (#1).[43] A number of industrial metal albums performed well on Billboard's Heatseekers chart: Filter's Short Bus (#3),[44] Stabbing Westward's Wither Blister Burn + Peel (#1),[45] Rammstein's Sehnsucht (#2),[46] Orgy's Candyass (#1),[47] and Static-X's Wisconsin Death Trip (#1).[48] Around that time Trent Reznor, the movement's most well-known person, was chosen by Time as one of the most influential Americans in 1997.[49]

When industrial metal climbed the charts of the late 1990s, its sudden popularity was met with negative reactions from the early innovators of industrial music. Peter Christopherson told The Wire that he no longer felt any kinship with the industrial scene: "this is not me, this is not what I'm about".[50] Brian Williams of Lustmord declared that "Ministry just doesn't interest [him]" and "[he has] no time for all this rock and roll shit they're doing now."[51] Skinny Puppy were unimpressed by The Downward Spiral,[52] with cEvin Key attributing NIN's success to "a bit of hype",[53] and Nivek Ogre going further, dismissing Nine Inch Nails as "cock rock",[54] although admitting an appreciation for Ministry's Psalm 69.[55]

Industrial metal suffered a critical backlash at the turn of the millennium. In an April 2000 review for the Chicago Sun Times, Jim DeRogatis dismissed Nine Inch Nails' new music as a "generic brand of industrial thrash" and accused Ministry of repeating an act that "was old by 1992".[56] Although The Fragile reached the top spot of the Billboard 200[57] and went on to earn a double platinum status,[27] DeRogatis considered it a "flop" nonetheless.[56] Around this time, veteran industrial metal artists (Ministry,[58] Godflesh,[59] and White Zombie[60]) began to repudiate the industrial label. Critical attention also began to turn toward the dance music phenomenon coming from the United Kingdom.[61]

However, sales remained high throughout 2000-2005; at least 10 million records were sold during that time frame.[27]

Film and video

Several industrial metal groups produced eye-catching videos. These included Godflesh's collaboration with Andres Serrano,[62] Aidan Hughes's graphics for KMFDM,[63] Nine Inch Nails' work with Mark Romanek,[64] Rob Zombie's visual work for White Zombie (for which he received the MTV Video Music Award for Best Hard Rock Video),[65] and Marilyn Manson's output with Richard Kern[66] and Floria Sigismondi.[67] NIN later collaborated with Bill Viola for live accompaniment.[68] Trent Reznor also produced the soundtracks for the films Natural Born Killers and Lost Highway, and served as "musical consultant" for Man on Fire.[69][70][71] Rob Zombie has directed three films.[65] As of 2009, Marilyn Manson is in the process of directing Phantasmagoria: The Visions of Lewis Carroll.[72] Other films that have included prominent contributions from industrial metal artists include The Crow, Spawn, The Matrix, and A.I. Artificial Intelligence.[73][74][75][76]

Controversy

Its emphasis on transgressive themes has made a few industrial metal groups vulnerable to attack from social conservatives. For example, Sen. Bob Dole, then head of the Republican Party, sharply criticized Time Warner after a rancorous meeting among Michael J. Fuchs (head of the Warner Music Group), William Bennett, and C. Delores Tucker, at which Tucker and Bennett demanded that Fuchs read lyrics from NIN's "Big Man with a Gun".[77] A year later, Bennett, Tucker, and Joseph Lieberman launched a similar campaign against MCA Records for their distribution of Marilyn Manson's music.[78] Many of his concerts were cancelled by authorities after this uproar.[74] Many initial reports claimed that Columbine High School shooters Eric Harris and Dylan Klebold were Marilyn Manson fans.[79] In fact, they preferred KMFDM.[80] Asa Coon, another school shooter, was a Manson fan.[81] In addition, Dennis Cooper cited Ministry's video for "Just One Fix", which featured footage of William S. Burroughs, as an early example of heroin chic.[82]

Contemporary European industrial metal

Main article: European industrial metal
Rammstein, Globe Arena, Stockholm, Sweden, 18 November 2004

While industrial metal began to lose ground in the U.S., European industrial metal became increasingly popular. Germany's Neue Deutsche Härte (new German hardness), has been particularly successful. Its most famous representative, Rammstein, has sold nearly four million records in Germany, while accumulating gold and platinum records throughout continental Europe.[83][84] They were also nominated for a Grammy in the United States.[85]

Other NDH groups, such as Oomph![86][87] and Eisbrecher[88][89] have placed highly on European charts. Scandinavian acts such as Deathstars, Gothminister and The Kovenant have been similarly prominent.[90][91][92] Some groups, such as Blut Aus Nord, have melded industrial metal with black metal.[93]

Crossover with other genres

Hardcore punk

Many figures from the hardcore punk scene have dabbled in industrial metal. These include Ian McKaye[19] and Jello Biafra,[94] both of whom collaborated with Ministry; the former in Pailhead, the latter in Lard. Metallic hardcore groups, in particular Integrity, have incorporated elements of industrial metal.[95] Justin Broadrick emerged from the anarcho-punk scene;[9] subsequent groups, such as Nausea, also borrowed from industrial music.[96]

Glam metal

Robin Finck performing with Nine Inch Nails in 2008

Axl Rose was an early advocate of Nine Inch Nails, going so far as to tour with them in Europe.[97] Nine Inch Nails guitarist Robin Finck later joined Guns N' Roses.[98] Mötley Crüe also experimented with the style.[99] Andrew W.K. practices a form of pop industrial metal.[100]

Hip hop

See also: Industrial hip hop

Many industrial metal artists have shown an interest in the hip hop scene. Justin Broadrick had been fascinated by Public Enemy and Eric B. and Rakim from the earliest days of Godflesh.[8] These influences came to the fore in the hip hop rhythms of Songs of Love and Hate in 1996.[9] Broadrick's subsequent projects, Ice and Techno Animal, have deepened this experimentation.[9]

Trent Reznor has an enduring interest in hip hop, having named Public Enemy as an inspiration in the liner notes of Pretty Hate Machine. Reznor contributed a remix of Puff Daddy's "Victory",[101] which was released as a B-side for the 1998 single. Sean Combs also released a rock remix of "It's All about the Benjamins", a version that featured the vocal talents of Rob Zombie. Spike Jonze's video was nominated for "Best Video Of The Year" on MTV Video Music Awards in 1998.[102] Dr. Dre also did some mixing work on NIN's The Fragile.[103] Trent Reznor later remixed "Lapdance" for N*E*R*D, a Neptunes side-project. Pharrell reported, "It was a pleasure meeting Trent, and I was very excited to know our music reached the likes of someone of his stature".[104] Both Justin Broadrick and Trent Reznor collaborated with El-P; the former on Ice's Bad Blood,[105] and the latter on the song "Flyentology".[106]

Croatian rapper Marz emerged from Chicago's industrial metal scene, working as an engineer on Ministry's Filth Pig (1996) and playing guitar on Dark Side of the Spoon (1999). He later pursued his own project, which featured Ministry acolytes Rey Washam and Louis Svitek.[107]

Record labels

External links

See also

References

  1. ^ "Industrial Metal". allmusic. Retrieved 2008-02-11. {{cite web}}: External link in |publisher= (help)
  2. ^ a b c d e Di Perna 1995a, page 69.
  3. ^ a b Walters, Martin. "(Godflesh > Overview)". allmusic. Retrieved 2008-07-03. {{cite web}}: External link in |publisher= (help)
  4. ^ Huey, Steve. "(Nine Inch Nails > Biography)". allmusic. Retrieved 2009-01-09. {{cite web}}: External link in |publisher= (help)
  5. ^ Paytress 1995, pages 92 & 94
  6. ^ a b Chantler 2002, page 54.
  7. ^ Bennett, J. (2007). "Killing Joke". Decibel Magazine. Retrieved 2008-07-17. {{cite web}}: External link in |publisher= (help); Unknown parameter |month= ignored (help)
  8. ^ a b Chick, Stevie (2008-07-18). "Till deaf us do part". guardian.co.uk. Retrieved 2008-07-28. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  9. ^ a b c d e Bartkewicz, Anthony (2007). "Justin Broadrick". Decibel Magazine. Retrieved 2008-06-19. {{cite web}}: External link in |publisher= (help); Unknown parameter |month= ignored (help)
  10. ^ Kaye 1992, page 16.
  11. ^ Ruffin, Josh (2007-10-23). "Justin Broadrick: Existing through risk". Metro Spirit. Retrieved 2008-09-19. {{cite web}}: External link in |publisher= (help)
  12. ^ Pettigrew 1991, page 22.
  13. ^ Thompson 1994, page 44.
  14. ^ Mudrian 2004, page 186.
  15. ^ a b Yates 2001, pages 19.
  16. ^ Alexander 1995, page 52.
  17. ^ Bennett, J. (2007). "Glenn Danzig". Decibel Magazine. Retrieved 2008-09-21. {{cite web}}: External link in |publisher= (help); Unknown parameter |month= ignored (help)
  18. ^ Mörat 1990, page 14.
  19. ^ a b Blush 2001, page 223.
  20. ^ Gill 1996, page 88.
  21. ^ "The Ministry of Noise," 1989, page 49.
  22. ^ Barcinski 1992, page 27.
  23. ^ Gitter 1990, page 77.
  24. ^ Jeffries, David. "(Revolting Cocks > Biography)". allmusic. Retrieved 2008-09-08. {{cite web}}: External link in |publisher= (help)
  25. ^ Wiederhorn 1994, page 64.
  26. ^ "Search Certification Database". Canadian Recording Industry Association (CRIA). Retrieved 2008-06-27. {{cite web}}: External link in |publisher= (help)
  27. ^ a b c d e f "GOLD AND PLATINUM - Searchable Database". RIAA. Retrieved 2007-12-12. {{cite web}}: External link in |publisher= (help) Cite error: The named reference "riaa" was defined multiple times with different content (see the help page).
  28. ^ Reynolds 1988, page 28.
  29. ^ Greg Prato & Stephen Thomas Erlewine, Pigface bio, Allmusic. [1] Access date: September 8, 2008.
  30. ^ a b "GRAMMY Winners Search". GRAMMY.com. Retrieved 2007-12-12. {{cite web}}: External link in |publisher= (help)
  31. ^ "Re-Constriction". Cargoland!. Retrieved 2007-09-11. {{cite web}}: External link in |publisher= (help)
  32. ^ Ilker Yücel, interview with Jared Louche, ReGen Magazine, January 20, 2008. [2] Access date: December 28, 2008.
  33. ^ Huey, Steve. "(Fear Factory > Biography)". allmusic. Retrieved 2008-06-18. {{cite web}}: External link in |publisher= (help)
  34. ^ Cordero, Amber (Director) (December 18, 2001). Fear Factory: Digital Connectivity (motion picture). United States of America: Roadrunner Records.
  35. ^ Jeff Maki, Live-Metal.net, 2007 [3] Access date: July 22, 2008.
  36. ^ a b Arnopp 1993b, page 44.
  37. ^ "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)
  38. ^ Arnopp 1993a, page 41.
  39. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–05. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  40. ^ Groups such as Filter, Marilyn Manson, Ministry, Nine Inch Nails, Orgy, Rammstein, Stabbing Westward, Static-X and White Zombie, plus Rob Zombie's solo career.
  41. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–02. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  42. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–02. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  43. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–02. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  44. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–05. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  45. ^ cid=02%2F10%2F1996 "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–05. {{cite web}}: Check |url= value (help); Check date values in: |accessdate= (help); External link in |publisher= (help)
  46. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–05. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  47. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–05. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  48. ^ "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–01–05. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  49. ^ "TIME'S 25 MOST INFLUENTIAL AMERICANS". TIME. 1997-04-21. Retrieved 2007–12–14. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  50. ^ Keenan, David (1998-07-21). "Time Out Of Joint". THE WIRE - ADVENTURES IN MODERN MUSIC. Retrieved 2007–09–08. {{cite web}}: Check date values in: |accessdate= (help); External link in |publisher= (help)
  51. ^ Fergunson 1993, page 55.
  52. ^ Bali, Gunnar (1995). "???". New Life. Retrieved 2007–09–08. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help) Archived at Litany.
  53. ^ Radish, Diakon (1997). "cEvin Key: Music for Cats and Video Games". New Empire. Retrieved 2007–09–08. {{cite web}}: Check date values in: |accessdate= (help); Text "2007 Funeral For A Clown" ignored (help) Archived at Litany.
  54. ^ Bright 1996, page 39.
  55. ^ Gill & Rotondi 1996, page 78.
  56. ^ a b DeRogatis, Jim (2000). "Nine Inch Nails stuck in the '90s". Chicago Sun Times. Retrieved 2007–08–24. {{cite web}}: Check date values in: |accessdate= (help); Unknown parameter |month= ignored (help) Archived at The NIN Hotline. Cite error: The named reference "jdr2000" was defined multiple times with different content (see the help page).
  57. ^ ci=3035791& cdi=7505315&cid=10%2F09%2F1999 "Top Music Charts - Hot 100 - Billboard 200 - Music Genre Sales". Billboard Music Charts. Retrieved 2008–05–09. {{cite web}}: Check |url= value (help); Check date values in: |accessdate= (help); External link in |publisher= (help)
  58. ^ Pettigrew 1996, page 46.
  59. ^ Martin 2004, page 25.
  60. ^ Di Perna 1995b, page 35.
  61. ^ Hochman 1997, page 21.
  62. ^ Jay W. Babcock, "In Godflesh We Trust", RIP Magazine, December 2006. [4] Access date: January 4, 2009.
  63. ^ Aidan Hughes, Interview by Liberation Iannillo, Trigger Magazine, August 5, 2005. [5] Access date: January 4, 2009.
  64. ^ Ed Gonzalez, Slant Magazine, September 5, 2005. [6] Access date: January 4, 2009.
  65. ^ a b Stephen Jorgl, "Rob Zombie on Making Films and Records", Audiohead.net, 2006. [7] Access date: January 4, 2009.
  66. ^ Kurt B. Reighley, Marilyn Manson, chapter 6, Macmillan, 1998, p. 73.
  67. ^ Mark Dillon, "Gothic Goddess", American Cinematographer, August 1998, p. 60-70. [8] Access date: January 4, 2009.
  68. ^ Bill Viola artist biography. [9] Access date: January 4, 2009.
  69. ^ David Browne, "'Killer' Riffs," Entertainment Weekly, September 23, 1994. [10] Access date: January 10, 2009.
  70. ^ "Death to Hootie!: Trent Reznor Makes a Case for Danger," Rolling Stone, March 6, 1997.
  71. ^ "Man on Fire (2004) - Full cast and crew". Imdb.com. Retrieved 2008-10-27.
  72. ^ Wax, Alyse. Marilyn Manson Freaks Us Out at the Scream Awards, FEARnet, 20 October 2008 at FEARnet.com. Last accessed 22 October 2008.
  73. ^ Charles Aaron, Entertainment Weekly, April 1, 1994. [11] Access date: January 10, 2009.
  74. ^ a b Paula O' Keefe, "The History of Marilyn Manson, 1997 Update Part 2 of 2", at Spookhouse.net Access date: January 10, 2009.
  75. ^ Marc Weingarten, Entertainment Weekly, May 7, 1999. [12] Access date: January 9, 2009.
  76. ^ David Basham, MTV News, April 19, 2001. [/www.mtv.com/news/articles/1442976/20010419/ministry.jhtml] Access date: January 9, 2009.
  77. ^ Larry Leibstein with Thomas Rosenstiel, "The Right Takes a Media Giant to Political Task," Newsweek (June 12, 1995), p. 30.
  78. ^ Manson the blame of suicide 11/6/97
  79. ^ Cullen, Dave. Inside the Columbine High investigation. Salon News, September 23, 1999.
  80. ^ Cullen, Dave (April 20, 2004). "The Depressive and the Psychopath". Slate magazine. Retrieved 2008-08-24.
  81. ^ School Shooting
  82. ^ Dennis Cooper, "Junkie See, Junkie Do." All Ears, Soft Skull Press, 1999, p. 61.
  83. ^ "Gold/Platin Datenbank durchsuchen". www.ifpi.de - Die deutschen Phonoverbände. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  84. ^ "GULD & PLATINA - År 2004". IFPI. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  85. ^ roadrunnerrecords. com/blabbermouth. net/news. aspx?mode=Article& newsitemID=48091 "SLIPKNOT Win GRAMMY Award For 'Best Metal Performance'". roadrunnerrecords. com/blabbermouth. net BLABBERMOUTH. NET. 2006-02-08. Retrieved 2008–06–11. {{cite web}}: Check |url= value (help); Check date values in: |accessdate= and |date= (help)
  86. ^ "Gold und Platin Datenbank". IFPI Austria, Verband der Österreichischen Musik Wirstchaft. Retrieved 2008-05-07. {{cite web}}: External link in |publisher= (help)
  87. ^ "Gold/Platin Datenbank durchsuchen". www.ifpi.de - Die deutschen Phonoverbände. Retrieved 2007-12-14. {{cite web}}: External link in |publisher= (help)
  88. ^ "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)
  89. ^ "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)
  90. ^ "DEATHSTARS: 'Virtue To Vice' Video Posted Online". BLABBERMOUTH.NET. 2007-06-13. Retrieved 2007-10-07. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  91. ^ "News Library: Live". Nuclear Blast Europe. 2007. Retrieved 2007-10-10. {{cite web}}: External link in |publisher= (help); Unknown parameter |month= ignored (help)
  92. ^ 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)
  93. ^ Chris Dick, "Blut Aus Nord", Decibel, December 2006. [13] Access date: July 22, 2008.
  94. ^ [14]
  95. ^ Steve Huey, Allmusic biography of Integrity. [15] Access date: August 4, 2008.
  96. ^ "All through the 80's I was very into bands and styles other than punk or metal like Killing Joke, Einstürzende Neubauten, Test Dept." - Roy Mayorga, interview with Bela. [16] Access date: August 4, 2008.
  97. ^ Jon Bains, interview with Trent Reznor, summer 1991. [17] Access date: August 4, 2008.
  98. ^ New GNR.com[18] Access date: August 4, 2008.
  99. ^ Dave De Sylvia, Generation Swine review, [19] Access date: August 4, 2008.
  100. ^ Jon Wiederhorn, "THe Philosophy of AWK", MTV.com. [20] Access date: November 29, 2008.
  101. ^ "Puffy Remixed By Reznor, Deftones, Mascis". MTV. 1998-01-15. Retrieved 2007-10-21. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  102. ^ "1998 MTV Video Music Awards". ROCK ON THE NET. Retrieved 2007-08-27. {{cite web}}: External link in |publisher= (help)
  103. ^ Brent DiCrescenzo, Pitchforkmedia, December 31, 1999[21] Access date: July 22, 2008
  104. ^ Johnson Jr., Billy (2001-07-03). "N*E*R*D And NIN's Reznor Get Alternative 'Lapdance'". Yahoo! Music. Retrieved 2007-10-21. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)
  105. ^ Nin Chan, Rap Reviews, January 25, 2005[22] Access date: July 22, 2008
  106. ^ Dave Maher, Pitchforkmedia news, February 16, 2007 [23] Access date: July 22, 2008
  107. ^ Harkness, Geoff (2001-03-01). "Marz Attacks!". LJ Word - Lawrence, Kansas. Retrieved 2007-10-21. {{cite web}}: Check date values in: |date= (help); External link in |publisher= (help)

Further reading

  • Alexander, Phil (1995). Alien Soundtracks! Kerrang!, 528, 52-53.
  • Arnopp, Jason (1993). De-Construction! Kerrang!, 462, 41.
  • Arnopp, Jason (1993). Industrial Metal: A User's Guide. Kerrang!, 462, 44.
  • Barcinski, André (1992). Máquina Mortífera. Bizz, 79, 24-29.
  • Blush, Steven (2001). American Hardcore: A Tribal History. Los Angeles, CA: Feral House.
  • Chantler, Chris (2002). Splitting Heirs. Terrorizer, 96, 54-55.
  • Connelly, Chris (2007). Concrete, Bulletproof, Invisible + Fried: My Life as a Revolting Cock. London: SAF Publishing.
  • Di Perna, Alan (1995). Jackhammer of the Gods. Guitar World, 15(6): 54-59, 61-62, 67, 69, 71.
  • Di Perna, Alan (1995). White Zombie: Zombies Gave Me Lunch! Guitar World, 15(6): 33, 35-26, 38, 40, 46, 170, 172.
  • Fergunson, Paul (1993). Terror Against Terror: Lustmord's Dancefloor Coup. Industrial Nation, 7, 53-7.
  • Gill, Chris (1996). Swine Before Pearls: Wallowing In the Muck with Ministry's Al Jourgensen. Guitar Player, 30(3): 84-89.
  • Gill, C., Rotondi, J. (1996). Heady Metal. Guitar Player, 30(3): 74-82.
  • Gitter, Mike (1990). Ministry: Sole Survivors. Thrasher, January: 76-77, 100.
  • 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, 20-21.
  • Kaye, Don (1992). Flesh Eaters. Kerrang!, 388, 16-17.
  • Martin, Jim (2004). Sadness Will Prevail. Terrorizer!, 123, 24-25.
  • Mörat (1990). Flesh for Fantasy. Kerrang!, 320, 14-15.
  • Mudrian, Albert (2004). Choosing Death: the Improbable History of Death Metal and Grindcore. Los Angeles, CA: Feral House.
  • Paytress, Mark (1995). Industrial Music. Record Collector, 185, 92-99.
  • Pettigrew, Jason (1991). Godflesh: the Power of Positive Paradoxes. Alternative Press, 5(36): 22-23.
  • Pettigrew, Jason (1996). Watch Yourself and Watch What You Say. Alternative Press, 92, 44-51.
  • Reynolds, Simon (1988, August 20). Detonation Angels. Melody Maker, pp. 28-30.
  • 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, 48-49.
  • Stud, B., Stud, T. (1987, June 20). Heaven Up Here. Melody Maker, pp. 26-27.
  • The Ministry of Noise (1989). Modern Keyboard, March, 49-50.
  • Thompson, Dave (1994). Industrial Revolution. Los Angeles, CA: Cleopatra.
  • Vale, V., Juno, A. (1983). RE/Search #6-#7: Industrial Culture Handbook. San Francisco, CA: RE/SEARCH PUBLICATIONS.
  • Wiederhorn, Jon (1994). Industrious Metal. Pulse, 64, 64.
  • Yates, Catherine (2001). Souls of a New Machine. Kerrang!, 871, 18-20.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Industrial_metal&oldid=272243599"