|Stylistic origins||Neoclassical, neofolk, marches, industrial, post-industrial, dark ambient|
|Cultural origins||Late 20th century, Europe|
|Typical instruments||Military band instrumentation, synthesizer, drum machine, sequencer, sampler|
Martial industrial a subgenre of syncretic post-industrial music characterized by industrial noises, dark ambient atmospheres, neofolk melodies, dark wave tunes and neoclassical orchestrations as well as the incorporation of audio from military marches, historical speeches and political, apolitical or metapolitical lyrics. Unlike other post-industrial genres, martial industrial is interested more in a particular worldview or philosophy than pure experimentalism.
Laibach were one of the first bands to incorporate military marches in their industrial music and display politically provocative aesthetics. Boyd Rice and Douglas P., the noise and neofolk pioneers, respectively, adopted such attitude at several occasions to its extreme. Allerseelen, either through ritual hymns or alchemical folklore followed in the same vein. Similarly militant but less provocative and more esoteric were the heroic choral outputs of ACTUS. Les Joyaux de la Princesse developed the genre further, offering a particularly mesmerizing style of dark ambient intermingled with historical samples, speeches and interbellum chansons. The Moon Lay Hidden Beneath a Cloud / Der Blutharsch enriched this tradition, adding darkwave medieval melodies to the mix. Finally, In Slaughter Natives and Puissance expanded the genre towards orchestral and neoclassical paths, respectively. Nowadays, the Wagnerian style of Triarii serves as point of reference for most martial industrial acts.
20 Milestone albums
- Laibach - Krst Pod Triglavom
- Ain Soph - Kshatriyas
- Les Joyaux de le Princesse - Aux Petits Enfants De France
- Der Blutharsch - Der Sieg des Lichtes ist des Lebels Heil!
- Derniere Volonte - Commemoration
- ACTUS - Das Unbennenbare
- Sophia - Sigillum Militum
- Blood Axis - The Gospel of Inhumanity
- Allerseelen - Neuschwabenland
- Die Weisse Rose - A Martyrium Of White Roses
- Von Thronstahl - Imperium Internum
- Kriegsfall-U - Kriegsfall-U
- Karjalan Sissit - Miserere
- Ordo Equilibrio - Conquest, Love & Self Perseverance
- In Slaughter Natives - Purgate my Stain
- Toroidh - Europe is Dead
- Arditi - Spirit of Sacrifice
- The Moon Lay Hidden Beneath A Cloud - The Smell of Blood but Victory
- Turbund Sturmwerk - Turbund Sturmwerk
- Wappenbund - Preußen
The term 'Martial' does not necessarily refer only to military drumming but in general to ominous/dramatic atmospheres and a particular thematology, style, aesthetics and Weltanschauung. Similarly, the term 'industrial' does not denote only old-school industrial music, but rather the broad spectrum of post-industrial scene (from neofolk acoustics to harsh noise). Thus, sonically diverse bands like Genocide Organ (power electronics), Oda Relicta (sacral), Stahlwerk 9 (industrial), N.K.V.D. (industrial black metal), Die Weisse Rose (darkwave), Axon Neuron/Vagwa (dark ambient), Feindflug (EBM), Gae Bolg and the Church of Fand (medieval), H.E.R.R. (neoclassical) and Scivias (neofolk) can all be grouped under the umbrella of 'martial industrial'.
Martial industrial bands all around the world, from Venezuela to China have emerged. However, the scene is particularly strong and qualitative in Germany, Hungary, France, Poland and Russia.
Martial industrial music frequently uses imagery related to war, totalitarian regimes, European nationalism, military displays, and political mass gatherings – contexts, in short, where the individual is subsumed by history and the mass will. A range of philosophical, political, or religious themes with an illiberal, anti-cosmopolitan, and anti-egalitarian bias predominate, such as Friedrich Nietzsche's Overman, Oswald Spengler's pessimistic vision of Western decline, Mircea Eliade's theories about sacred practice and symbolism, René Guénon's writings on the "spiritual degeneration" of the West, Ernst Jünger's ideas about the renewing power of war and adversity, Julius Evola's reactionary apoliteia and mysticism, Nazi mysticism, and pre-Christian paganism.
The apotheosis of Doric elements in Man and Society.
Accusations of fascism
Some bands (Von Thronstahl) openly declare fascistic ideology, some others (Kraschau) favor monarchism but some others (Militia) are eco-anarchists. Some explore the erotic dimension of history and fascistic aesthetics (Ordo Rosarius Equilibrio). Many martial industrial bands (Skrol) do not even touch historical/political issues. Other bands that touch such issues and use politically incorrect imagery (Turbund Sturmwerk) refuse to disclose their real convictions.
- A Challenge of Honour
- Ain Soph
- Barbarossa Umtrunk
- Bearer of the inmost sun
- Blood Axis
- Boyd Rice (NON)
- Cold Fusion
- Dead Man's Hill
- Death In June
- Der Blutharsch
- Dernière Volonté
- Die Macht (Im Einsatz)
- Die Weisse Rose
- Front Sonore
- Ghosts of Breslau
- Hieronymus Bosch
- In the Nursery
- Joy of Life
- Karjalan sissit
- Kreuzweg Ost
- Les Joyaux De La Princesse
- Les Affres de la Mort - Les Affres du Passé
- Linija Mass
- Ordo Rosarius Equilibrio
- Organization Toth
- Ritual Front
- Sol Invictus
- Stahlwerk 9
- Stalnoy Pakt
- Test Dept
- The Moon Lay Hidden Beneath a Cloud
- Triangular Ascension
- Turbund Sturmwerk
- Von Liebenfels
- Von Thronstahl
- While Angels Watch
- Anton Shekhovtsov, 'Apoliteic music: Neo-Folk, Martial Industrial and "metapolitical fascism"', Patterns of Prejudice, Vol. 43, No. 5 (December 2009), pp. 431–457.
- Thorn, Malahki (2005-12-07). "Von Thronstahl Interview: The Search for Truth".