Industrial rock 125889 226008438 2008-07-16T12:33:52Z Musicaindustrial 4807851 /* Origins */ {{rewrite}} {{Disputed|date=March 2008}} {{Inappropriate tone|date=December 2007}} {{Infobox Music genre |name=Industrial rock |bgcolor=silver |color=black |stylistic_origins=[[Punk rock]]<br/>[[Industrial music]]<br/>[[Post-punk]]<br/>[[No wave]]<br/>[[Hardcore punk]]<br/>[[Noise rock]] |cultural_origins=Early 1980s, [[United States]], [[United Kingdom]], [[Germany]] |instruments=[[Electric guitar]] - [[Synthesizer]] - [[Drum machine]] - [[Drum]]s - [[Music sequencer|Sequencer]] - [[Keyboard instrument|Keyboard]] - [[Sampler (musical instrument)|Sampler]] - [[Bass guitar|bass]] |popularity= Large in North America in the 1990s; is now hitting the peak of its popularity in Europe. |derivatives= [[Industrial metal]] |subgenrelist= |subgenres= |fusiongenres= |regional_scenes= [[Neue Deutsche Härte|Germany]] |other_topics=[[List of electronic and industrial music artists|Notable artists]]}} '''Industrial rock''' is a [[musical genre]] that fuses [[industrial music]] and [[punk rock]]. Industrial rock spawned [[industrial metal]], which is frequently confused with the latter. ==Musical style== Industrial rock artists generally employ the basic rock instrumentation of [[electric guitars]], [[Drum kit|drums]] and [[Bass guitar|bass]] and pair it with [[white noise]] blasts, [[electronic music]] [[gear]] ([[synthesizers]], [[Music sequencer|sequencers]], [[Sampler (musical instrument)|samplers]] and [[drum machines]]). Guitars are commonly heavily [[Distortion#Guitar distortion|distorted]] or otherwise [[Effects unit|effected]]. Bass guitars and drums may be played live, or be replaced by electronic musical instruments or computers in general. One characteristic that distinguishes industrial rock from its non-[[Industrial music|industrial]] counterpart is the incorporation of sounds commonly associated with machinery and industry. The incorporation of this sound palette was pioneered by the early 1980s "Metal Music" artists ([[SPK (band)|SPK]], [[Einstürzende Neubauten]], [[Die Krupps]], [[Test Dept]], [[Z'ev]] and others), who practiced an Industrial Music variation that relied heavily on [[Metal]] [[percussion]], generally made with pipes, tubes and other products of industrial waste. The psychological effect was symbolic of urban decay{{Fact|date=October 2007}}. Both the music and the lyrics of industrial rock are commonly presented in a manner that some listeners might find unsettling. Many bands produce and release their own records, honoring the [[DIY ethic|DIY]] credo. A combination of the elements above can be seen in a handful of [[post-punk]] purveyors: [[Chrome (band)|Chrome]], [[Killing Joke]], [[Laibach (band)|Laibach]], [[The Swans]] and [[Big Black]]. In his introduction for the ''[[Industrial Culture Handbook]]'' (1983), [[Jon Savage]] considered some hallmarks of the Industrial Music genre: organizational autonomy, shock tactics and the use of synthesizers and "anti-music".<ref>Vale & Juno 1983, page 05.</ref> Furthermore, a ''"special interest"'' in the investigation of ''"[[cult]]s, [[wars]], psychological techniques of persuasion, unusual murders (especially by children and [[psychopaths]]), [[forensic pathology]], [[venereology]], [[concentration camp]] behavior, the history of [[uniforms]] and [[insignia]]"'' and ''"[[Aleister Crowley]]'s [[magick]]"'' was present on [[Throbbing Gristle]]'s work, <ref>Ibid., page 09.</ref> as well as in other Industrial pioneers. == Origins == Industrial Music was created in the mid to late 1970s, amidst the punk rock revolution and [[Disco]] fever, and was epitomised by bands such as [[Throbbing Gristle]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], and [[SPK (band)|SPK]].<ref>Vale & Juno 1983.</ref> Within a few years, many other musical performers were incorporating industrial-musical elements into a variety of musical styles. Casual listeners often use "industrial" to refer to the more accessible industrial rock style that came later, such as [[Nine Inch Nails]], [[Rammstein]] or [[Marilyn Manson]]. Some [[post-punk]] performers developed styles parallel to Industrial Music's composing techniques. [[Pere Ubu (band)|Pere Ubu]]'s debut (''[[The Modern Dance]]''), for example, was tagged "Industrial".<ref>Irvin 2001, page 442.</ref> So was [[San Francisco]]'s [[Chrome (band)|Chrome]], who mixed [[Jimi Hendrix]], [[The Sex Pistols]] and [[tape music]] experiments;<ref>Reynolds 2005, pages 257 & 258.</ref> or [[Killing Joke]], considered by [[Simon Reynolds]] as "a post-punk version of Heavy Metal".<ref>Ibid., page 435.</ref> Others followed in their wake.<ref>Chantler 2002, page 54.</ref> The [[New York City|NYC]] band [[The Swans|Swans]] were inspired by the local [[No Wave]] scene as well as Punk rock ([[Buzzcocks]], [[The Sex Pistols]]), [[Noise music|Noise]] ([[Whitehouse (band)|Whitehouse]]) and the original purveyors of Industrial Music - Cabaret Voltaire, Throbbing Gristle and SPK.<ref>Licht 2003, page 32.</ref> [[Steve Albini]]'s [[Big Black]] followed a similar path,<ref>Blush 2001, p. 222.</ref> adding [[United States|american]] hardcore ([[Minor Threat]], [[Black Flag (band)|Black Flag]]) and [[Oi!]] ([[Skrewdriver]]) to the mix.<ref>Sharp 1999, page 48.</ref> There was also the [[Swiss]] trio [[The Young Gods]], who deliberately esquewed electric guitars in favor of a sampler.<ref>Mörat 1992, page 12.</ref> The Young Gods early oeuvre was inspired both by [[Washington, DC]] hardcore punkers [[Bad Brains]]<ref>Stud & Stud 1987, page 27.</ref> and [[Jim Thirlwell]]'s [[Foetus (band)|Foetus]] project. In the mid-1980s, Chicago originated the [[Wax Trax!]] sound, which borrowed from the [[house music|house]] of [[Frankie Knuckles]]<ref name=b223>Blush, p. 223</ref>. Chicago industrial rock also borrowed from [[hardcore punk]]; [[Al Jourgensen]] of [[Ministry (band)|Ministry]] collaborated with [[Ian McKaye]] of [[Minor Threat]] and [[Embrace (U.S. band)|Embrace]], and, subsequently, [[Fugazi]], in the [[Pailhead]] project.<ref name=b223/> == Mainstream Breakthrough == Industrial rock's first commercial success might be attributed to Killing Joke's fifth album, ''[[Night Time]]''. It won a [[Music recording sales certification|silver sales certificate]] (60,000+ units sold) by the [[British Phonographic Industry|BPI]]<ref>{{cite web |url= http://www.bpi.co.uk/platinum/platinumright.asp?rq=search_plat&r_id=23587 |title= CERTIFIED AWARDS |publisher= [http://www.bpi.co.uk THE BPI]|accessdate= 2007-08-24}}</ref> largely on the strength of club favorite "Love Like Blood".<ref>{{cite web |url= http://www.rockdetector.com/officialbio,4922.sm|title= KILLING JOKE - Unique, Detailed Biography|publisher= [http://www.rockdetector.com Rockdetector - The World's Biggest Rock Resource on the Web]|accessdate= 2008-06-11}}</ref> Industrial Rock's true commercial breakthrough, though, came through industrial metal's early leading lights: [[Ministry (band)|Ministry]] and [[Nine Inch Nails]]. NIN's ''[[Broken (Nine Inch Nails EP)|Broken]]'' hit the [[Music recording sales certification|platinum]] mark in America and so did Ministry's ''[[Psalm 69: The Way to Succeed and the Way to Suck Eggs|Psalm 69]]''.<ref name= riaa>{{cite web|url= http://www.riaa.com/goldandplatinumdata.php?table=SEARCH|title= GOLD AND PLATINUM - Searchable Database|publisher= [http://www.riaa.com RIAA] |accessdate= 2007-12-12}}</ref> Both groups participated in the [[Grammy]]'s 1992 ''[[Best Metal Performance]]'' category (Nine Inch Nails won<ref>{{cite web |url= http://www.grammy.com/GRAMMY_Awards/Winners/Results.aspx?title=&winner=Nine%20Inch%20Nails&year=0&genreID=0&hp=1|title= GRAMMY Winners Search|publisher= [http://www.grammy.com GRAMMY.com]|accessdate= 2007-12-12}}</ref>). Industrial Rock reached its commercial zenith in the latter half of the 1990s. According to the [[RIAA]] databases, its top-selling artists, together, shifted around 17,5 million units.<ref name= riaa>{{cite web |url= http://www.riaa.com/goldandplatinumdata.php?table=SEARCH |title= GOLD AND PLATINUM - Searchable Database |publisher= [http://www.riaa.com RIAA] |accessdate= 2007-12-12}}</ref><ref>Groups such as [[Filter (band)|Filter]], [[Marilyn Manson (band)|Marilyn Manson]], Ministry, Nine Inch Nails, [[Orgy (band)|Orgy]], [[Rammstein]], [[Stabbing Westward]], [[Static-X]] and [[White Zombie (band)|White Zombie]], plus [[Rob Zombie]]'s solo career.</ref> By that time [[Trent Reznor]], the movement's most recognizable face, was chosen by ''[[Time (magazine)|Time]]'' as one of the most influential Americans in 1997.<ref>{{cite web|url= http://www.time.com/time/magazine/article/0,9171,986206,00.html|title= TIME'S 25 MOST INFLUENTIAL AMERICANS|date= [[1997-04-21]]|publisher= [http://www.time.com TIME]|accessdate= 2007-12-14}}</ref> Other style-related groups gained recognition from the [[mainstream]], being nominated for the Grammys: Marilyn Manson and White Zombie. Sales were still going strong throughout 2000-2005; at least 10 million records were sold during that timeframe.<ref name= riaa>{{cite web|url= http://www.riaa.com/goldandplatinumdata.php?table=SEARCH|title= GOLD AND PLATINUM - Searchable Database|publisher= [http://www.riaa.com RIAA] |accessdate= 2007-12-12}}</ref> Other style-related groups were nominated for the Grammys as well, such as [[Spineshank]]<ref>{{cite web |url= http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=19024|title= METALLICA, EVANESCENCE Among Winners At 46th Annual GRAMMY AWARDS|date= [[2004-02-08]]|publisher= [http://www.roadrunnerrecords.com/blabbermouth.net BLABBERMOUTH.NET]|accessdate= 2008-06-11}}</ref> and [[Rammstein]].<ref>{{cite web |url= http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=48091|title= SLIPKNOT Win GRAMMY Award For 'Best Metal Performance'|date= [[2006-02-08]]|publisher= [http://www.roadrunnerrecords.com/blabbermouth.net BLABBERMOUTH.NET]|accessdate= 2008-06-11}}</ref> === Mixed-Reactions: Industrial Scene === While Industrial Rock was riding high on the charts of the late 1990s and early 2000s, its sudden popularity was met with mixed reactions from the music's early practitioners - from mild estrangement to outright hostility. Some examples: * [[Peter Christopherson]] (ex-[[Throbbing Gristle|TG]], [[Coil (band)|Coil]]) told ''[[The Wire (magazine)|The Wire]]'' that he "went into this record shop out in the middle of [[Wiltshire]] and they had an 'Industrial' section - so many of which I'd played on and I suddenly felt separate from it - like, this is not me, this is not what I'm about".<ref>{{cite web | url= http://www.thewire.co.uk/web/unpublished/coil.html|title= Time Out Of Joint|author= Keenan, David|date= [[1998-07-21]]|publisher= [http://www.thewire.co.uk THE WIRE - ADVENTURES IN MODERN MUSIC]|accessdate= 2007-09-08}}</ref> * In an interview by the ''Industrial Nation'' [[zine]], [[Lustmord]] mainman Brian Williams declared the following about Ministry's Industrial metal phase: "I have no time for all this [[rock and roll]] shit they're doing now. (...) I can't understand why they would want to do it, I can't imagine why people would want to listen to it, but people have a right to do what they want. Ministry just doesn't interest me".<ref>Fergunson 1993, page 55.</ref> * [[cEvin Key]] (of [[Skinny Puppy]]) listened to ''The Downward Spiral'' "1 or 2 times" and wasn't impressed;<ref>{{cite web | url= http://69.13.120.241/interviews/newlife95.html|title= ???|author= Bali, Gunnar|publisher= New Life|date= May 1995|accessdate= 2007-09-08}} Archived at [http://69.13.120.241 Litany].</ref> he thought that Nine Inch Nails's success was "a bit of hype".<ref>{{cite web | url= http://69.13.120.241/interviews/newempire.html|title= cEvin Key: Music for Cats and Video Games|author= Radish, Diakon|publisher= New Empire|date= 1997|2007 Funeral For A Clown accessdate= 2007-09-08}} Archived at [http://69.13.120.241 Litany].</ref> [[Nivek Ogre|Ogre]] went further: he called Nine Inch Nails "[[cock rock]]"<ref>Bright 1996, page 39.</ref> and referred to [[Filter (band)|Filter]] and [[KMFDM]] derisively as "the new Metal", although he was admittedly impressed by Ministry's ''Psalm 69''.<ref>Gill & Rotondi 1996, page 78.</ref> == Artists == *[[List of industrial rock bands]] == Labels == *[[Cleopatra Records]] *[[East Meets West Records]] *[[Fixt Music]] *[[Invisible Records]] *[[Metropolis Records]] *[[Nothing Records]] *[[Slipdisc Records]] *[[Trafik Records]] *[[Wax Trax! Records]] *[[Vinema Records]] == Sales & Awards == {{main|Industrial Rock: Sales & Awards}} The template above re-directs to a page dedicated exclusively to the awards ([[Grammys]], [[MTV Video Music Awards]]) and certifications ([[IFPI]], [[RIAA]], [[CRIA]]) given to [[Industrial rock]] groups. == External links == *[http://www.industrialrock.net Fabryka Industrial Rock webzine] == Notes == {{reflist|2}} == References == * Blush, Steven (2001). ''American hardcore: a tribal history.'' Feral House. * Bright, Matt (1996). ''Dog gone.'' Melody Maker, February 24th: 39. * Chantler, Chris (2002). ''Splitting heirs''. Terrorizer, 96: 54-5. * 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. * Irvin, Jim (2001). ''The Mojo collection: the greatest albums of all time.'' Edinburgh: Cannongate. * Licht, Alan (2003). ''Tunnel vision.'' The Wire, 233: 30-37. * Mörat (1992). ''Ye gods!'' Kerrang!, 411: 12. * 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. {{industrial_music-footer}} {{alternative_music footer}} [[Category:Rock music genres]] [[Category:Industrial music]] [[Category:Fusion music genres]] [[de:Industrial Rock]] [[fr:Rock industriel]] [[uz:Industrial rock]] [[pl:Rock industrialny]] [[sv:Industrirock]]