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(Redirected from Industrial Rock)
'Industrial rock' is a musical genre which is a fusion of post-industrial music and rock music.
Industrial rock is similar to industrial metal. By convention, all industrial metal artists may be more vaguely described as industrial rock, but not all industrial rock artists are properly described as industrial metal.
Industrial rock augments the guitar-based music and songwriting structure of rock with the electronic instruments and noisy production techniques of industrial and electronic body music (EBM). Bands such Ministry (''The Land of Rape and Honey'', 1988) used typical EBM-sequences in their songs. Though superficially abrasive and often aggressive, industrial rock is generally more listener-friendly than traditional industrial.
Typical instrumentation for industrial rock bands centers on heavily-distorted or otherwise-effected guitars and synthesizers. Bass guitars and drums may be played live, or they may be replaced by sequencers and drum machines. Many groups also make extensive use of samplers.
The year was 1977. The Punk rock revolution had just reached its apex, but it was already showing signs of wear. Disco had also reached its climax, spearheaded by Donna Summer's "I Feel Love" and the ''Saturday Night Fever'' soundtrack. In the midst of this sonic upheal Industrial Music was born. Different than anything that came before, Industrial was proudly "anti-rock" and "anti-dance" - "anti-music" even. Its themes and presentation were so atrocious and extreme that even Punk's full-frontal assault looked pale in comparison.
Some of post-punk's prime movers, though, were soon to develop parallel sensibilities to Industrial Music's apocalyptic terror. Pere Ubu's debut (''The Modern Dance'', 1978), for example, was tagged "Industrial"[1]; it probably was the first rock record to be called such, even though Ubu's warped Rock 'n' roll was hardly the only one to make parallels with Industrial Music's nihilistic sonic science. PIL's early "death-disco" records were close in spirit to Industrial. So was San Francisco's Chrome, which melded Jimi Hendrix, The Sex Pistols and tape music experiments; or Killing Joke, considered by Simon Reynolds as "a post-punk version of Heavy Metal"[2]. Others followed in their wake: Steve Albini's Big Black, noise merchants The Swans and Swiss industrialmeisters The Young Gods, which eschewed guitars in favor of a sampler.
The term "industrial rock", though, most likely had its genesis in the mid-1990s as a reaction to such crossover bands being referred to as simply "industrial." The industrial rock designation called attention to the fundamental similarities with rock, as opposed to industrial. However, casual listeners still often use "industrial" to refer to the more accessible industrial rock style.
The band Einsturzende Neubauten used the sounds of the metal industries, sensitized it and use it in their music. Years later, the industrial style arrived in North America and many bands were formed, such as Ministry, KMFDM, Godflesh and Nine Inch Nails.
'' (1992).
]]
Industrial Rock's first commercial success might be attributed to Killing Joke's 1985 album, ''Night Time''. It won a silver sales certificate (60,000+ in sales) by the BPI[3] on the strength of its two hits: club favorite "Love Like Blood" and "Eighties", whose guitar riff was famously plagiarized by Nirvana (on their 1991 song "Come As You Are").
Industrial Rock's true commercial breakthrough, though, came through Industrial Metal's early leading lights: Ministry and Nine Inch Nails. NIN's 1992 EP ''Broken'' hit the platinum mark in America[4] and so did Ministry's ''[5], released months apart (albeit the latter took three years to do so). Both groups participated in the Grammy's 1992 ''Best Metal Performance'' category[6] (NIN won[7]). NIN went on the win another Grammy and three more nominations. Trent Reznor was also elected by ''Time'' as one of the most influential persons in 1997, and ''The Downward Spiral'' (1994) was voted one of the top 100 records in 1990s by ''Rolling Stone'' magazine.
Industrial Rock reached its commercial peak in the latter half of the 1990s. According to the RIAA databases, its top-selling artists[8], together, shifted around 17,5 million units[4]. Other style-related groups gained recognition from the mainstream, being nominated for the Grammys: Rammstein[10], Marilyn Manson[11], White Zombie[12], and Spineshank[13].
Sales were still going strong throughout 2000-2005; 10 million records were sold during that timeframe, which is more than the so-called "Emocore" bands sold at that same period[4].
Danzig
Although ''Blackacidevil'' (1996) is frequently referred as Danzig's "Industrial" album[15], Glenn's infatuation with the genre streches back further (he listened to Foetus since his Samhain days[16]). Early Industrial Metal was favored as well; in an interview for ''Seconds'', Danzig sang high praises for Godflesh's ''Streetcleaner'' (1989). It was "one of my favorite records"[17], he told the magazine. He took Godflesh aboard his ''4p'' (1994) tour[5], and was rumored to have invited Justin Broadrick to join Danzig (Broadrick declined the offer).
Actual industrial sounds can be vaguely seen in the '' EP (1993), on the over-distorted guitar solo of "The Violent Fire" and the hidden song after various short, silent tracks, a trick probably taken from NIN's ''Broken'' (1992). Danzig's liking for the genre went further on his next release, ''4p''. Danzig's fourth long play is littered with "Industrial" sound signatures: backmasked instruments ("Cantspeak"), "treated" vocals and distorted percussion ("Until You Call On the Dark"), and samples (sitars in "Bringer of Death", whiplashes in "Sadistikal"). ''Danzig 4'' has also another variation of the "hidden song" trick (track #66, "Invocation"). Despite being an accomplished record, ''4p's "industrialisms" provoked mixed reactions among fans. "If they want 'Mother pt. 2', forget it" said Danzig.
Undeterred by criticisms, fan and press alike, Glenn Danzig dived head-first... ''Blackacidevil''.
Danzig explained ''Blackacidevil's direction on a Hollywood Records bio[19]:
''"I wanted to do something that nobody else was really doing. So I took an element of industrial that I liked here, and an element of techno there, then mixed it with what I normally do. I took the best elements of that stuff. They're powerful when used properly. Then, I'd still experiment with different directions--which I wanted to do anyway--and then watch what happend when I mixed it together."''
He also rejects the "Industrial" label[17] put on his mid-1990s releases:
''"...I hate is this "Industrial" tag. Every time people hear treated vocals, they're like, "It's Industrial," but The Beatles treated vocals! Does that mean "Come Together" is Industrial? I don't know what people mean by "Industrial". To me, it's Throbbing Gristle and Neubauten"''.
Lemonheads
Justin Broadrick remixed "Style" for a 12" promo of the song, released in 1993[21].
Red Hot Chili Peppers
Ministry did two "Give It Away" remixes, included on this song's (1991) single. The remix titles were: "Give It Away (12" Mix)" and "Give It Away (Rasta Mix)"[22].
Jim "Foetus" Thrilwell did three remixes each for the Red Hot Chili Peppers' cover versions of "Higher Ground" (Stevie Wonder) and "If You Want Me to Stay" (Sly Stone). These remixes were included on the various formats of the same-titled single released in 1992[23].
The Smashing Pumpkins
Although technically not an Industrial Rock album, ''Adore's (1998) production was greatly assisted by Bon Harris (ex-Nitzer Ebb)[24].
Mötley Crüe.
Guns N' Roses.
Taime Downe, lead singer of sleaze rock band Faster Pussycat, formed an industrial rock band called the Newlydeads in the late 90's as well.
Shotgun Messiah, which started out as a glam metal band, changed their entire sound to industrial rock after losing all but two members.
Since it's early days Grindcore was infused with Industrial Music's influence. The genre's own name came from a Swans listening experience. According to ex-Napalm Death drummer Mick Harris, "Grind" was the only word that could describe The Swans's ''Filth'' LP[25]; the suffix "core" came from (obviously) "Hardcore". Throbbing Gristle, Killing Joke and Whitehouse were also an influence, filtered through Justin Broadrick's unique guitar playing, although Broadrick and bassist Nik Bullen consciously sought to make Napalm's music a meeting of minds between Siege and Celtic Frost in hyperspeed[26]. Broadrick left Napalm Death after the ''From Enslavement to Obliteration'' (1986) demo and went on to form Godflesh. Mick Harris exited in 1991 to form Scorn with Bullen.
Even after Broadrick's and Harris's exit, Napalm Death continued to dabble in Industrial Music. Their intro to their ''Harmony Corruption'' (1990) tour was very similar to Coil's more ambient-directed work. No mystery here; Coil are cited as an influence on one of the interviews featured on the band's ''Live Corruption'' (1990) video. Godflesh is also an inspiration for the band; the last track of ''Utopia Banished'' (1992), "Contemptuous", is alledgedly inspired by Justin Broadrick's group[27]. Napalm Death also did live renditions of "Avalanche Master Song"; a taped performance of their cover version is included the second disc of ''Noise for Music's Sake'' (2003)
Finally, Napalm Death members could also be spotted in various occasions sporting Industrial group T-shirts: Shane Embury wearing Skinny Puppy and Young Gods[28] Ts and Mick Harris wearing Ministry Ts. The late Jesse Pintado had NIN stickers covering his guitar.
=== Hip-Hop
Puff Daddy
Trent Reznor did a remix for "Victory", which was released as a B-side for this song's 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. This version had its own music video, directed by Spike Jonze, which was nominated for "Best Video Of The Year" on MTV Video Music Awards in 1998[29].
Techno Animal
Techno Animal[30] flirted with Hip-Hop on their 2001 release, ''Brotherhood of the Bomb''.
N
★ E
★ R
★ D
Trent Reznor did a remix for N
★ E
★ R
★ D, a Neptunes side-project. The track in question was "Lapdance", renamed "Lapdance (Nine Inch Nails Remix)".
Dälek
Thrash Metal ===
Thrash Metal's infatuation with Industrial Music probably started with Prong's ''Whose Fist Is This Anyway?'' (1991)[31], which featured some critically acclaimed remixes by Jim "Foetus" Thirlwell. Following this EP's success a barrage of remixes unsued, of which some of the most accomplished were:
★ Die Krupps's ''A Tribute to Metallica'' EP (1992)[32].
★ Trent Reznor (of Nine Inch Nails) remixing Megadeth. The results are available on 1992's ''Symphony of Destruction'' single;
★ Justin Broadrick (of Godflesh) remixing two ''Vulgar Display of Power'' (1992) tracks. These remixes are available on Pantera's ''Walk: Biomechanical'' EP (1993)[33].
★ Al Jourgensen (of Ministry) remixing Anthrax. The remixes are available on 1993's ''Black Lodge'' single[34].
★ And the ''Walk: Cervical'' (1993) remixes done by J. G. Thirlwell[35]. Also worthy of note are three unreleased remixes made for Megadeth, all of them for the same song, "Angry Again"[36], originally featured on the ''Last Action Hero'' (1993) soundtrack.
By 1993-1994, several Thrash albums were displaying an undeniable Industrial Rock sound-print. Sepultura's ''Chaos A.D.'', Anthrax's ''Sound of White Noise'', Machine Head's ''Burn My Eyes'' and Prong's ''Cleansing'' were some of those. Around that same time Nailbomb was formed, a side-project hailed by Sepultura's own Max Cavalera and Fudge Tunnel's Alex Newport.
U2
David Bowie
''Outside'' was Bowie's mid-1990s forray into Industrial Rock. However, when asked in 1995 if ''Outside'' was influenced by Nine Inch Nails, rock's chameleon answered, "No. I was influenced by a Swiss band called The Young Gods". Bowie went on to tour with NIN in America and The Young Gods in Europe.
His next outing (''Earthling'', 1997) shed most of ''Outside's industrial leanings in favor of an ''electronica'' direction. Nonetheless it featured a collaboration with Trent Reznor: a remix of "I'm Afraid of Americans", a track originally featured on the ''Showgirls'' (1995) movie. Although not a hit, Reznor's V1.0 remix (and the companion clip) paid off; "I'm Afraid of Americans" was nominated for ''Best Male Video'' category on 1998's MTV's Music Video Awards[29].
David Bowie later on wrote NIN's entry on ''Rolling Stone's "The Immortals: The 100 Greatest Artists of All Time" issue (Nine Inch Nails ranked #94)[38].
Alice Cooper
...as well as Alice Cooper during ''Dragontown'' and ''Brutal Planet'' are prime examples of this.
Gary Numan
...and the mid 90's work of Synthpop icon Gary Numan.
Rob Halford
W.A.S.P.
Other examples of this are W.A.S.P. with their 1997 album ''Kill Fuck Die''...
According to WordNet v3.0 a "crossover" is ''"the appropriation of a new style (especially in popular music) by combining elements of different genres in order to appeal to a wider audience"''[39]. In its original underground rock context, "Crossover" was a subgenre of Punk that combined Hardcore with Thrash metal. True to WordNet's definition, the bands that practiced it (Corrosion of Conformity, Suicidal Tendencies, Dirty Rotten Imbeciles) wanted to reach a wider audience - the Metal audience.
Sometime between the mid-1980s and the mid-1990s the term migrated to the Industrial scene. Sascha Konietzko might be the one to blame for that; he referred to KMFDM's music as "industrial-electronic-crossover-rock"[40]. There it somewhat changed; now it was meant for bands that infused Hardcore, Thrash and Noise rock with EBM and Industrial Music's production values. And staying true to its past definitions, the bands fitting this particular label (Ministry, Nine Inch Nails) did indeed make Industrial Music soar to new commercial heights.
"Cyber-metal" was supposedly coined by Norwegian outfit The Kovenant (no relation the Futurepop trio Covenant). Kovenant started as a run-on-the-mill Black Metal band (''In Times Before the Light'', 1997), changed their sound dramatically to "black-prog-metal" (''Nexus Polaris'', 1998) and finally found their voice on the third offering, ''Animatronic'' (1999). This is the album when they re-christen themselves as "cyber-metal". The Kovenant's musical blueprint was later followed by a handful of European metal bands, including Deathstars[41], 'Hypnosis'[42], Malmonde[43], 'Psionic'[44] and 'Dimension FH3'[45].
Though they admit being influenced by North-American acts such as White Zombie, Marilyn Manson and NIN[46], The Kovenant's "Cyber-metal" reveals iself a different beast from the typical American Industrial metal fare. Its "rock" side is similar to a thrashier and less speed-prone Black Metal; its "electronic" side strongly resembles both European ''electronica'' - The Prodigy is an admitted influence[47] - and the 1980s Synthpop artists they openly admire, such as A-ha, Duran Duran and Depeche Mode[48]. As Kovenant themselves sarcastically put it: "We're more interested in becoming electronic rather than industrial - less distorted and nicer"[46].
Although Wikipedia re-directs "Metal Music" to Heavy Metal, few people nowadays remember that "Metal Music" was once an early 1980s term designed to describe Industrial Music groups that relied heavily on Metal percussion. Artists such as SPK, Einstürzende Neubauten, Die Krupps, Test Dept and Z'ev were often tagged as "Metal Music" in those days.
While Industrial Rock 'n' Roll was riding high on the American charts of the late 1990s and early 2000s, its sudden popularity was met from mild estrangement to outright hostility by the music's early practionners. Some examples:
★ Peter Christopherson (ex-TG, Coil) told ''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"[50].
★ Lustmord mainman 'Brian Williams'...
★ cEvin Key (of Skinny Puppy) listened to ''The Downward Spiral'' "1 or 2 times" and wasn't impressed[51]; he thought that NIN's success was "a bit of hype"[52]. Ogre went further: he called Nine Inch Nails "cock-rock" and referred to Filter and KMFDM derisively as "the new Metal", although he was admittedly thunderstruck by Ministry's ''.
A myriad of other reasons conspire to support DeRogatis's line of thinking:
★ The nasty break-ups of important Industrial groups in the mid-1990s, such as Nitzer Ebb and Skinny Puppy.
★ Veteran Industrial Rock artists (Ministry, Godflesh, Nine Inch Nails) and newcomers alike (White Zombie) balking at the "i-word" tag.
★ America's ''electronica'' craze, starting in 1997 (deemed the "year of electronica"). Many critics that championed Alternative Rock in the early 1990s now turned their hyping skills toward the dance music craze coming from England. Despite all the hype surrounding it, ''electronica'' was unable to out-sell Industrial Rock[53].
★ Nu-metal's newfound success at the time which built on Industrial Metal's forward-thinking hard rock, augumenting it with populist Hip-hop swagger.
★ The aftermath of the Columbine massacre, were groups such as Marilyn Manson[54], Rammstein and KMFDM[55] were blamed for the tragedy.
Despite Y2K bringing platinum sales for newcomers Static-X and Orgy[4], Industrial Rock's popularity eventually waned in the United States. America still produces vibrant Industrial Rock though, by the likes of Celldweller, Dope, Spineshank and American Head Charge.
While Industrial Rock 'n' Roll 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 well-known music critic Jim DeRogatis. In a controversial April 2000 review for the Chicago Sun Times, DeRogatis dismissed NIN's new music as a "generic brand of industrial thrash" and accused Ministry of still repeating an act that "was old by 1992"[57]. Oddly enough, in the said review DeRogatis considered ''The Fragile'' a "commercial flop"[5]. A strange thought indeed for a double-album that reached the top spot of the Billboard 200[59] and went on to earn a Double Platinum status[4] (and was later named by ''Spin'' as "Album of the Year"[61]).
On a recent interview with Skinny Puppy, Matt Child wrote a rather scathing indictment on Industrial Rock today:
''"Industrial music -- or whatever it is we're calling that convergence of electronic elements, big guitars and punk's troublemaking spirit these days -- has got a bad rap. Admittedly, a lot of it's deserved: Most of today's rivet-heads are content to simply plagiarize Ministry and KMFDM riffs, pack a few heavy beats behind the noise and round out the package with a few samples and a few electronic bleeps pulled from the latest software plug-in. It's probably pretty engaging and energizing if you're the type who walks around in a long, black trench-coat visualizing public-space massacres. For everyone else, sadly, it's just another sad, tired offshoot of metal that has its moments now and then."''[62].
Parallel to the "i-rock" decline in North America, Europe belched forth its own brand of electro-metal. Germany's ''Neue Deutsch Härte'', in particular, has had an incredible success rate on continental Europe. Its leading light, Rammstein, has sold 6 million records in Germany alone[63], while racking up gold (and platinum) records in Sweden[64], Austria[65], Holland[66], Switzerland[67], Denmark[68] and Norway[69].
Other like-minded German musicians have been making dents in the charts as well. ''Neue Deutsch Härte'' pioneers Oomph! have achieved a gold record for their ''Augen Auf!'' (2004) single[63]. Eisbrecher's debut entered at #13 on the Deutschen Alternative Top 20 Chart[71], while the group's second album (''Antikörper'', 2006) reached the #85 position on the German main chart[72].
Another born and bred European variation of Industrial Rock, "Cyber-metal" - led by Scandinavian acts such as Deathstars and The Kovenant - has had a remarkable underground success 'til now.
★ List of industrial rock bands
★ Cleopatra Records
★ Invisible Records
★ Metropolis Records
★ Nothing Records
★ Slipdisc Records
★ Wax Trax! Records
★ Vinema Records
1. IRVIN, Jim. 'The Mojo Collection:' The Greatest Albums of All Time. Edinburgh: Cannongate, 2001, p. 442.
2. REYNOLDS, Simon. 'Rip it up and start again:' postpunk 1978-1984. London: Faber and Faber Limited, 2005, p. 435.
3. CERTIFIED AWARDS
4. GOLD AND PLATINUM - Searchable Database
5. Same as above.
6. 35th Annual Grammy Awards - 1993
7. Grammy Award Winners
8. 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.
9. GOLD AND PLATINUM - Searchable Database
10. 48th Annual Grammy Awards - 2006
11. 41st Annual Grammy Awards - 1999
12. 38th Annual Grammy Awards - 1996
13. 46th Annual Grammy Awards - 2004
14. GOLD AND PLATINUM - Searchable Database
15. Danzig Ready To Scare You Again, , , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
16. The Details on "blackacidevil" & More, , , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
17. DANZIG - 10/97 Seconds Magazine #44, Blush, Steven, , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
18. Same as above.
19. Danzig Returns On Halloween With New Album 'blackacidevil' On Hollywood Records, , , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
20. DANZIG - 10/97 Seconds Magazine #44, Blush, Steven, , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
21. Encyclopaedia and Search
22. Guest Appearances, Remix Work, etc.
23. Remix: Red Hot Chili Peppers
24. Bon Harris: Programming For The Smashing Pumpkins Molineuax, Sam
25. MUDRIAN, Albert. 'Choosing Death:' the Improbable History of Death Metal and Grincore. Los Angeles, CA: Feral House, 2004, p. 35.
26. Ibid, p. 32.
27. ((( Utopia Banished > Overview ))) Birchmeier, Jason
28. Check the back cover of ''Harmony Corruption'' (1990).
29. 1998 MTV Video Music Awards
30. A side-project of the British duo Justin Broadrick (Godflesh, Jesu) and Kevin Martin (GOD)
31. Remix: Prong
32. .::Discography::.
33. Justin's Remix Work
34. Discography: Black Lodge
35. Remix: Pantera
36. Remix: Megadeth
37. 1998 MTV Video Music Awards
38. Nine Inch Nails, , David, Bowie, Rolling Stone,
39. WordNet Search - 3.0 - S: (n) crossover
40. THOMPSON, Dave. 'Alternative Rock.' San Francisco, CA: Miller Freeman Books, 2000, p. 71.
41. POWERMETAL.de - Interviews: Deathstars - Whiplasher
42. Review - HYPNOSIS - Cyber Death
43. AblaZine Interviews : MALMONDE Dahl
44. Psionic - Nu-Tech Cyber Sorcery
45. CD-Review: Dimension FH3 - Does The Pain Excite You?
46. THE KOVENANT interview Siva, Shan
47. THE KOVENANT INTERVIEW
48. Interview / Story: The Kovenant (Listening Session) Metalgreg
49. THE KOVENANT interview Siva, Shan
50. Time Out Of Joint Keenan, David
51. ??? Bali, Gunnar
52. cEvin Key: Music for Cats and Video Games Radish, Diakon
53. 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.
54. Columbine: Whose Fault It Is? Manson, Marilyn .
55. KMFDM And Rammstein Speak Out About Columbine .
56. GOLD AND PLATINUM - Searchable Database
57. Nine Inch Nails stuck in the '90s DeRogatis, Jim Archived at The NIN Hotline.
58. Same as above.
59. Rock's outlook bleak, but this Nail won't bend Soeder, John Archived at The NIN Hotline.
60. GOLD AND PLATINUM - Searchable Database
61. Rock radio pumps up volume Archived at The NIN Hotline.
62. Dog Days: Skinny Puppy Child, Matt
63. Gold/Platin Datenbank durchsuchen
64. GULD & PLATINA - År 2004
65. Gold und Platin Datenbank
66. Goud/Platina Muziek
67. Search for: Rammstein
68. Guld og platin
69. SØK I TROFÉER
70. Gold/Platin Datenbank durchsuchen
71. Former MEGAHERZ Duo Launch EISBRECHER
72. EISBRECHER: 'Antikörper' Enters German Chart At No. 85
'Industrial rock' is a musical genre which is a fusion of post-industrial music and rock music.
Industrial rock is similar to industrial metal. By convention, all industrial metal artists may be more vaguely described as industrial rock, but not all industrial rock artists are properly described as industrial metal.
Musical stylings
Industrial rock augments the guitar-based music and songwriting structure of rock with the electronic instruments and noisy production techniques of industrial and electronic body music (EBM). Bands such Ministry (''The Land of Rape and Honey'', 1988) used typical EBM-sequences in their songs. Though superficially abrasive and often aggressive, industrial rock is generally more listener-friendly than traditional industrial.
Typical instrumentation for industrial rock bands centers on heavily-distorted or otherwise-effected guitars and synthesizers. Bass guitars and drums may be played live, or they may be replaced by sequencers and drum machines. Many groups also make extensive use of samplers.
Origins
The year was 1977. The Punk rock revolution had just reached its apex, but it was already showing signs of wear. Disco had also reached its climax, spearheaded by Donna Summer's "I Feel Love" and the ''Saturday Night Fever'' soundtrack. In the midst of this sonic upheal Industrial Music was born. Different than anything that came before, Industrial was proudly "anti-rock" and "anti-dance" - "anti-music" even. Its themes and presentation were so atrocious and extreme that even Punk's full-frontal assault looked pale in comparison.
Some of post-punk's prime movers, though, were soon to develop parallel sensibilities to Industrial Music's apocalyptic terror. Pere Ubu's debut (''The Modern Dance'', 1978), for example, was tagged "Industrial"[1]; it probably was the first rock record to be called such, even though Ubu's warped Rock 'n' roll was hardly the only one to make parallels with Industrial Music's nihilistic sonic science. PIL's early "death-disco" records were close in spirit to Industrial. So was San Francisco's Chrome, which melded Jimi Hendrix, The Sex Pistols and tape music experiments; or Killing Joke, considered by Simon Reynolds as "a post-punk version of Heavy Metal"[2]. Others followed in their wake: Steve Albini's Big Black, noise merchants The Swans and Swiss industrialmeisters The Young Gods, which eschewed guitars in favor of a sampler.
The term "industrial rock", though, most likely had its genesis in the mid-1990s as a reaction to such crossover bands being referred to as simply "industrial." The industrial rock designation called attention to the fundamental similarities with rock, as opposed to industrial. However, casual listeners still often use "industrial" to refer to the more accessible industrial rock style.
The band Einsturzende Neubauten used the sounds of the metal industries, sensitized it and use it in their music. Years later, the industrial style arrived in North America and many bands were formed, such as Ministry, KMFDM, Godflesh and Nine Inch Nails.
Commercial Breakthrough and Mainstream Recognition
'' (1992).
]]
Industrial Rock's first commercial success might be attributed to Killing Joke's 1985 album, ''Night Time''. It won a silver sales certificate (60,000+ in sales) by the BPI[3] on the strength of its two hits: club favorite "Love Like Blood" and "Eighties", whose guitar riff was famously plagiarized by Nirvana (on their 1991 song "Come As You Are").
Industrial Rock's true commercial breakthrough, though, came through Industrial Metal's early leading lights: Ministry and Nine Inch Nails. NIN's 1992 EP ''Broken'' hit the platinum mark in America[4] and so did Ministry's ''[5], released months apart (albeit the latter took three years to do so). Both groups participated in the Grammy's 1992 ''Best Metal Performance'' category[6] (NIN won[7]). NIN went on the win another Grammy and three more nominations. Trent Reznor was also elected by ''Time'' as one of the most influential persons in 1997, and ''The Downward Spiral'' (1994) was voted one of the top 100 records in 1990s by ''Rolling Stone'' magazine.
Industrial Rock reached its commercial peak in the latter half of the 1990s. According to the RIAA databases, its top-selling artists[8], together, shifted around 17,5 million units[4]. Other style-related groups gained recognition from the mainstream, being nominated for the Grammys: Rammstein[10], Marilyn Manson[11], White Zombie[12], and Spineshank[13].
Sales were still going strong throughout 2000-2005; 10 million records were sold during that timeframe, which is more than the so-called "Emocore" bands sold at that same period[4].
Established acts: Experimented with the genre
Alternative Rock
Danzig
Although ''Blackacidevil'' (1996) is frequently referred as Danzig's "Industrial" album[15], Glenn's infatuation with the genre streches back further (he listened to Foetus since his Samhain days[16]). Early Industrial Metal was favored as well; in an interview for ''Seconds'', Danzig sang high praises for Godflesh's ''Streetcleaner'' (1989). It was "one of my favorite records"[17], he told the magazine. He took Godflesh aboard his ''4p'' (1994) tour[5], and was rumored to have invited Justin Broadrick to join Danzig (Broadrick declined the offer).
Actual industrial sounds can be vaguely seen in the '' EP (1993), on the over-distorted guitar solo of "The Violent Fire" and the hidden song after various short, silent tracks, a trick probably taken from NIN's ''Broken'' (1992). Danzig's liking for the genre went further on his next release, ''4p''. Danzig's fourth long play is littered with "Industrial" sound signatures: backmasked instruments ("Cantspeak"), "treated" vocals and distorted percussion ("Until You Call On the Dark"), and samples (sitars in "Bringer of Death", whiplashes in "Sadistikal"). ''Danzig 4'' has also another variation of the "hidden song" trick (track #66, "Invocation"). Despite being an accomplished record, ''4p's "industrialisms" provoked mixed reactions among fans. "If they want 'Mother pt. 2', forget it" said Danzig.
Undeterred by criticisms, fan and press alike, Glenn Danzig dived head-first... ''Blackacidevil''.
Danzig explained ''Blackacidevil's direction on a Hollywood Records bio[19]:
''"I wanted to do something that nobody else was really doing. So I took an element of industrial that I liked here, and an element of techno there, then mixed it with what I normally do. I took the best elements of that stuff. They're powerful when used properly. Then, I'd still experiment with different directions--which I wanted to do anyway--and then watch what happend when I mixed it together."''
He also rejects the "Industrial" label[17] put on his mid-1990s releases:
''"...I hate is this "Industrial" tag. Every time people hear treated vocals, they're like, "It's Industrial," but The Beatles treated vocals! Does that mean "Come Together" is Industrial? I don't know what people mean by "Industrial". To me, it's Throbbing Gristle and Neubauten"''.
Lemonheads
Justin Broadrick remixed "Style" for a 12" promo of the song, released in 1993[21].
Red Hot Chili Peppers
Ministry did two "Give It Away" remixes, included on this song's (1991) single. The remix titles were: "Give It Away (12" Mix)" and "Give It Away (Rasta Mix)"[22].
Jim "Foetus" Thrilwell did three remixes each for the Red Hot Chili Peppers' cover versions of "Higher Ground" (Stevie Wonder) and "If You Want Me to Stay" (Sly Stone). These remixes were included on the various formats of the same-titled single released in 1992[23].
The Smashing Pumpkins
Although technically not an Industrial Rock album, ''Adore's (1998) production was greatly assisted by Bon Harris (ex-Nitzer Ebb)[24].
Glam Metal / "Cock-Rock" Bands
Mötley Crüe.
Guns N' Roses.
Taime Downe, lead singer of sleaze rock band Faster Pussycat, formed an industrial rock band called the Newlydeads in the late 90's as well.
Shotgun Messiah, which started out as a glam metal band, changed their entire sound to industrial rock after losing all but two members.
Grindcore & Death Metal
Since it's early days Grindcore was infused with Industrial Music's influence. The genre's own name came from a Swans listening experience. According to ex-Napalm Death drummer Mick Harris, "Grind" was the only word that could describe The Swans's ''Filth'' LP[25]; the suffix "core" came from (obviously) "Hardcore". Throbbing Gristle, Killing Joke and Whitehouse were also an influence, filtered through Justin Broadrick's unique guitar playing, although Broadrick and bassist Nik Bullen consciously sought to make Napalm's music a meeting of minds between Siege and Celtic Frost in hyperspeed[26]. Broadrick left Napalm Death after the ''From Enslavement to Obliteration'' (1986) demo and went on to form Godflesh. Mick Harris exited in 1991 to form Scorn with Bullen.
Even after Broadrick's and Harris's exit, Napalm Death continued to dabble in Industrial Music. Their intro to their ''Harmony Corruption'' (1990) tour was very similar to Coil's more ambient-directed work. No mystery here; Coil are cited as an influence on one of the interviews featured on the band's ''Live Corruption'' (1990) video. Godflesh is also an inspiration for the band; the last track of ''Utopia Banished'' (1992), "Contemptuous", is alledgedly inspired by Justin Broadrick's group[27]. Napalm Death also did live renditions of "Avalanche Master Song"; a taped performance of their cover version is included the second disc of ''Noise for Music's Sake'' (2003)
Finally, Napalm Death members could also be spotted in various occasions sporting Industrial group T-shirts: Shane Embury wearing Skinny Puppy and Young Gods[28] Ts and Mick Harris wearing Ministry Ts. The late Jesse Pintado had NIN stickers covering his guitar.
=== Hip-Hop
Trent Reznor did a remix for "Victory", which was released as a B-side for this song's 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. This version had its own music video, directed by Spike Jonze, which was nominated for "Best Video Of The Year" on MTV Video Music Awards in 1998[29].
Techno Animal
Techno Animal[30] flirted with Hip-Hop on their 2001 release, ''Brotherhood of the Bomb''.
N
★ E
★ R
★ D
Trent Reznor did a remix for N
★ E
★ R
★ D, a Neptunes side-project. The track in question was "Lapdance", renamed "Lapdance (Nine Inch Nails Remix)".
Dälek
Thrash Metal's infatuation with Industrial Music probably started with Prong's ''Whose Fist Is This Anyway?'' (1991)[31], which featured some critically acclaimed remixes by Jim "Foetus" Thirlwell. Following this EP's success a barrage of remixes unsued, of which some of the most accomplished were:
★ Die Krupps's ''A Tribute to Metallica'' EP (1992)[32].
★ Trent Reznor (of Nine Inch Nails) remixing Megadeth. The results are available on 1992's ''Symphony of Destruction'' single;
★ Justin Broadrick (of Godflesh) remixing two ''Vulgar Display of Power'' (1992) tracks. These remixes are available on Pantera's ''Walk: Biomechanical'' EP (1993)[33].
★ Al Jourgensen (of Ministry) remixing Anthrax. The remixes are available on 1993's ''Black Lodge'' single[34].
★ And the ''Walk: Cervical'' (1993) remixes done by J. G. Thirlwell[35]. Also worthy of note are three unreleased remixes made for Megadeth, all of them for the same song, "Angry Again"[36], originally featured on the ''Last Action Hero'' (1993) soundtrack.
By 1993-1994, several Thrash albums were displaying an undeniable Industrial Rock sound-print. Sepultura's ''Chaos A.D.'', Anthrax's ''Sound of White Noise'', Machine Head's ''Burn My Eyes'' and Prong's ''Cleansing'' were some of those. Around that same time Nailbomb was formed, a side-project hailed by Sepultura's own Max Cavalera and Fudge Tunnel's Alex Newport.
Other Established Rock Artists
U2
''Outside'' was Bowie's mid-1990s forray into Industrial Rock. However, when asked in 1995 if ''Outside'' was influenced by Nine Inch Nails, rock's chameleon answered, "No. I was influenced by a Swiss band called The Young Gods". Bowie went on to tour with NIN in America and The Young Gods in Europe.
His next outing (''Earthling'', 1997) shed most of ''Outside's industrial leanings in favor of an ''electronica'' direction. Nonetheless it featured a collaboration with Trent Reznor: a remix of "I'm Afraid of Americans", a track originally featured on the ''Showgirls'' (1995) movie. Although not a hit, Reznor's V1.0 remix (and the companion clip) paid off; "I'm Afraid of Americans" was nominated for ''Best Male Video'' category on 1998's MTV's Music Video Awards[29].
David Bowie later on wrote NIN's entry on ''Rolling Stone's "The Immortals: The 100 Greatest Artists of All Time" issue (Nine Inch Nails ranked #94)[38].
Alice Cooper
...as well as Alice Cooper during ''Dragontown'' and ''Brutal Planet'' are prime examples of this.
Gary Numan
...and the mid 90's work of Synthpop icon Gary Numan.
Rob Halford
Other examples of this are W.A.S.P. with their 1997 album ''Kill Fuck Die''...
Controversies
The usefulness of the "Crossover" tag.
According to WordNet v3.0 a "crossover" is ''"the appropriation of a new style (especially in popular music) by combining elements of different genres in order to appeal to a wider audience"''[39]. In its original underground rock context, "Crossover" was a subgenre of Punk that combined Hardcore with Thrash metal. True to WordNet's definition, the bands that practiced it (Corrosion of Conformity, Suicidal Tendencies, Dirty Rotten Imbeciles) wanted to reach a wider audience - the Metal audience.
Sometime between the mid-1980s and the mid-1990s the term migrated to the Industrial scene. Sascha Konietzko might be the one to blame for that; he referred to KMFDM's music as "industrial-electronic-crossover-rock"[40]. There it somewhat changed; now it was meant for bands that infused Hardcore, Thrash and Noise rock with EBM and Industrial Music's production values. And staying true to its past definitions, the bands fitting this particular label (Ministry, Nine Inch Nails) did indeed make Industrial Music soar to new commercial heights.
Cyber-metal: a whole other "sub-subgenre"?
"Cyber-metal" was supposedly coined by Norwegian outfit The Kovenant (no relation the Futurepop trio Covenant). Kovenant started as a run-on-the-mill Black Metal band (''In Times Before the Light'', 1997), changed their sound dramatically to "black-prog-metal" (''Nexus Polaris'', 1998) and finally found their voice on the third offering, ''Animatronic'' (1999). This is the album when they re-christen themselves as "cyber-metal". The Kovenant's musical blueprint was later followed by a handful of European metal bands, including Deathstars[41], 'Hypnosis'[42], Malmonde[43], 'Psionic'[44] and 'Dimension FH3'[45].
Though they admit being influenced by North-American acts such as White Zombie, Marilyn Manson and NIN[46], The Kovenant's "Cyber-metal" reveals iself a different beast from the typical American Industrial metal fare. Its "rock" side is similar to a thrashier and less speed-prone Black Metal; its "electronic" side strongly resembles both European ''electronica'' - The Prodigy is an admitted influence[47] - and the 1980s Synthpop artists they openly admire, such as A-ha, Duran Duran and Depeche Mode[48]. As Kovenant themselves sarcastically put it: "We're more interested in becoming electronic rather than industrial - less distorted and nicer"[46].
Industrial Metal & (Industrial) "Metal Music" - same thing?
Although Wikipedia re-directs "Metal Music" to Heavy Metal, few people nowadays remember that "Metal Music" was once an early 1980s term designed to describe Industrial Music groups that relied heavily on Metal percussion. Artists such as SPK, Einstürzende Neubauten, Die Krupps, Test Dept and Z'ev were often tagged as "Metal Music" in those days.
Rise and Fall... (and Rise Again)
The Decline in America...
While Industrial Rock 'n' Roll was riding high on the American charts of the late 1990s and early 2000s, its sudden popularity was met from mild estrangement to outright hostility by the music's early practionners. Some examples:
★ Peter Christopherson (ex-TG, Coil) told ''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"[50].
★ Lustmord mainman 'Brian Williams'...
★ cEvin Key (of Skinny Puppy) listened to ''The Downward Spiral'' "1 or 2 times" and wasn't impressed[51]; he thought that NIN's success was "a bit of hype"[52]. Ogre went further: he called Nine Inch Nails "cock-rock" and referred to Filter and KMFDM derisively as "the new Metal", although he was admittedly thunderstruck by Ministry's ''.
A myriad of other reasons conspire to support DeRogatis's line of thinking:
★ The nasty break-ups of important Industrial groups in the mid-1990s, such as Nitzer Ebb and Skinny Puppy.
★ Veteran Industrial Rock artists (Ministry, Godflesh, Nine Inch Nails) and newcomers alike (White Zombie) balking at the "i-word" tag.
★ America's ''electronica'' craze, starting in 1997 (deemed the "year of electronica"). Many critics that championed Alternative Rock in the early 1990s now turned their hyping skills toward the dance music craze coming from England. Despite all the hype surrounding it, ''electronica'' was unable to out-sell Industrial Rock[53].
★ Nu-metal's newfound success at the time which built on Industrial Metal's forward-thinking hard rock, augumenting it with populist Hip-hop swagger.
★ The aftermath of the Columbine massacre, were groups such as Marilyn Manson[54], Rammstein and KMFDM[55] were blamed for the tragedy.
Despite Y2K bringing platinum sales for newcomers Static-X and Orgy[4], Industrial Rock's popularity eventually waned in the United States. America still produces vibrant Industrial Rock though, by the likes of Celldweller, Dope, Spineshank and American Head Charge.
While Industrial Rock 'n' Roll 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 well-known music critic Jim DeRogatis. In a controversial April 2000 review for the Chicago Sun Times, DeRogatis dismissed NIN's new music as a "generic brand of industrial thrash" and accused Ministry of still repeating an act that "was old by 1992"[57]. Oddly enough, in the said review DeRogatis considered ''The Fragile'' a "commercial flop"[5]. A strange thought indeed for a double-album that reached the top spot of the Billboard 200[59] and went on to earn a Double Platinum status[4] (and was later named by ''Spin'' as "Album of the Year"[61]).
On a recent interview with Skinny Puppy, Matt Child wrote a rather scathing indictment on Industrial Rock today:
''"Industrial music -- or whatever it is we're calling that convergence of electronic elements, big guitars and punk's troublemaking spirit these days -- has got a bad rap. Admittedly, a lot of it's deserved: Most of today's rivet-heads are content to simply plagiarize Ministry and KMFDM riffs, pack a few heavy beats behind the noise and round out the package with a few samples and a few electronic bleeps pulled from the latest software plug-in. It's probably pretty engaging and energizing if you're the type who walks around in a long, black trench-coat visualizing public-space massacres. For everyone else, sadly, it's just another sad, tired offshoot of metal that has its moments now and then."''[62].
...and the Boom in Europe.
Parallel to the "i-rock" decline in North America, Europe belched forth its own brand of electro-metal. Germany's ''Neue Deutsch Härte'', in particular, has had an incredible success rate on continental Europe. Its leading light, Rammstein, has sold 6 million records in Germany alone[63], while racking up gold (and platinum) records in Sweden[64], Austria[65], Holland[66], Switzerland[67], Denmark[68] and Norway[69].
Other like-minded German musicians have been making dents in the charts as well. ''Neue Deutsch Härte'' pioneers Oomph! have achieved a gold record for their ''Augen Auf!'' (2004) single[63]. Eisbrecher's debut entered at #13 on the Deutschen Alternative Top 20 Chart[71], while the group's second album (''Antikörper'', 2006) reached the #85 position on the German main chart[72].
Another born and bred European variation of Industrial Rock, "Cyber-metal" - led by Scandinavian acts such as Deathstars and The Kovenant - has had a remarkable underground success 'til now.
Artists
★ List of industrial rock bands
Labels
★ Cleopatra Records
★ Invisible Records
★ Metropolis Records
★ Nothing Records
★ Slipdisc Records
★ Wax Trax! Records
★ Vinema Records
Notes
1. IRVIN, Jim. 'The Mojo Collection:' The Greatest Albums of All Time. Edinburgh: Cannongate, 2001, p. 442.
2. REYNOLDS, Simon. 'Rip it up and start again:' postpunk 1978-1984. London: Faber and Faber Limited, 2005, p. 435.
3. CERTIFIED AWARDS
4. GOLD AND PLATINUM - Searchable Database
5. Same as above.
6. 35th Annual Grammy Awards - 1993
7. Grammy Award Winners
8. 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.
9. GOLD AND PLATINUM - Searchable Database
10. 48th Annual Grammy Awards - 2006
11. 41st Annual Grammy Awards - 1999
12. 38th Annual Grammy Awards - 1996
13. 46th Annual Grammy Awards - 2004
14. GOLD AND PLATINUM - Searchable Database
15. Danzig Ready To Scare You Again, , , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
16. The Details on "blackacidevil" & More, , , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
17. DANZIG - 10/97 Seconds Magazine #44, Blush, Steven, , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
18. Same as above.
19. Danzig Returns On Halloween With New Album 'blackacidevil' On Hollywood Records, , , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
20. DANZIG - 10/97 Seconds Magazine #44, Blush, Steven, , , , Archived at Official DANZIG Fansite - www.The7thHouse.com.
21. Encyclopaedia and Search
22. Guest Appearances, Remix Work, etc.
23. Remix: Red Hot Chili Peppers
24. Bon Harris: Programming For The Smashing Pumpkins Molineuax, Sam
25. MUDRIAN, Albert. 'Choosing Death:' the Improbable History of Death Metal and Grincore. Los Angeles, CA: Feral House, 2004, p. 35.
26. Ibid, p. 32.
27. ((( Utopia Banished > Overview ))) Birchmeier, Jason
28. Check the back cover of ''Harmony Corruption'' (1990).
29. 1998 MTV Video Music Awards
30. A side-project of the British duo Justin Broadrick (Godflesh, Jesu) and Kevin Martin (GOD)
31. Remix: Prong
32. .::Discography::.
33. Justin's Remix Work
34. Discography: Black Lodge
35. Remix: Pantera
36. Remix: Megadeth
37. 1998 MTV Video Music Awards
38. Nine Inch Nails, , David, Bowie, Rolling Stone,
39. WordNet Search - 3.0 - S: (n) crossover
40. THOMPSON, Dave. 'Alternative Rock.' San Francisco, CA: Miller Freeman Books, 2000, p. 71.
41. POWERMETAL.de - Interviews: Deathstars - Whiplasher
42. Review - HYPNOSIS - Cyber Death
43. AblaZine Interviews : MALMONDE Dahl
44. Psionic - Nu-Tech Cyber Sorcery
45. CD-Review: Dimension FH3 - Does The Pain Excite You?
46. THE KOVENANT interview Siva, Shan
47. THE KOVENANT INTERVIEW
48. Interview / Story: The Kovenant (Listening Session) Metalgreg
49. THE KOVENANT interview Siva, Shan
50. Time Out Of Joint Keenan, David
51. ??? Bali, Gunnar
52. cEvin Key: Music for Cats and Video Games Radish, Diakon
53. 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.
54. Columbine: Whose Fault It Is? Manson, Marilyn .
55. KMFDM And Rammstein Speak Out About Columbine .
56. GOLD AND PLATINUM - Searchable Database
57. Nine Inch Nails stuck in the '90s DeRogatis, Jim Archived at The NIN Hotline.
58. Same as above.
59. Rock's outlook bleak, but this Nail won't bend Soeder, John Archived at The NIN Hotline.
60. GOLD AND PLATINUM - Searchable Database
61. Rock radio pumps up volume Archived at The NIN Hotline.
62. Dog Days: Skinny Puppy Child, Matt
63. Gold/Platin Datenbank durchsuchen
64. GULD & PLATINA - År 2004
65. Gold und Platin Datenbank
66. Goud/Platina Muziek
67. Search for: Rammstein
68. Guld og platin
69. SØK I TROFÉER
70. Gold/Platin Datenbank durchsuchen
71. Former MEGAHERZ Duo Launch EISBRECHER
72. EISBRECHER: 'Antikörper' Enters German Chart At No. 85
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