Industrial rock

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Industrial rock
Stylistic origins: Punk rock, Industrial Music, Post-punk, No Wave, Oi!, Hardcore punk, Hard rock
Cultural origins: Early 1980s, United States, United Kingdom, Germany
Typical instruments: Electric guitar - Synthesizer - Drum machine - Drums - Sequencer - Keyboard - Sampler - bass
Mainstream popularity: Large in North America in the 1990s; is now hitting the peak of its popularity in Europe.
Derivative forms:Industrial Metal
Regional scenes
Neue Deutsche Härte
Other topics
Notable artists

Industrial Rock is a musical genre that fuses Industrial Music and specific Rock subgenres such as Punk, Oi!, Hardcore and later on Hard Rock. Industrial Rock spawned Industrial Metal and is frequently confused with the latter[citation needed].

Contents

[edit] Musical style

Industrial Rock artists generally employ the basic Rock instrumentation of electric guitars, drums and bass and pair it with white noise blasts, electronic music gear (synthesizers, sequencers, samplers and drum machines). Guitars are commonly heavily-distorted or otherwise-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 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, 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[citation needed].

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 credo. A combination of the elements above can be seen in a handful of post-punk purveyors: Chrome, Killing Joke, 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"[1]. Furthermore, a "special interest" in the investigation of "cults, 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[2], as well as in other Industrial pioneers.

[edit] 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, and SPK[3]. Within a few years, many other musical performers were incorporating industrial-musical elements into a variety of musical styles. The term "industrial rock" most likely had its genesis in the mid-1990s as a reaction to crossover bands being referred to as simply "industrial."[citation needed] The industrial rock designation called attention to the fundamental similarities with rock, as opposed to industrial.[citation needed] However, casual listeners still often use "industrial" to refer to the more accessible industrial rock style.

Many post-punk performers were early adopters of Industrial Music's techniques. Pere Ubu's debut (The Modern Dance, 1978), for example, was tagged "Industrial"[4]; 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[5]; or Killing Joke, considered by Simon Reynolds as "a post-punk version of Heavy Metal"[6].

Others followed in their wake. The NYC band Swans were inspired by the local No Wave scene as well as Punk rock (Buzzcocks, The Sex Pistols), Noise (Whitehouse) and the original purveyors of Industrial Music - Cabaret Voltaire, Throbbing Gristle and SPK[7]. Steve Albini's Big Black followed a similar path, adding American Hardcore (Minor Threat, Black Flag) and Oi! (Skrewdriver) to the mix[8]. There was also Swiss industrialmeisters The Young Gods, who ditched guitars in favor of a sampler.

[edit] Mainstream Breakthrough

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[9] on the strength of its four hits, including club favorite "Love Like Blood" and "Eighties".

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 and so did Ministry's Psalm 69[10]. Both groups participated in the Grammy's 1992 Best Metal Performance category (NIN won[11]). NIN went on the win another Grammy[12] and four more nominations[13]. Trent Reznor was also chosen by Time as one of the most influential Americans in 1997[14].

Industrial Rock reached its commercial peak in the latter half of the 1990s. According to the RIAA databases, its top-selling artists[15], together, shifted around 17,5 million units[16]. Other style-related groups gained recognition from the mainstream, being nominated for the Grammys: Rammstein, Marilyn Manson, White Zombie, and Spineshank.

Sales were still going strong throughout 2000-2005; at least 10 million records were sold during that timeframe[17].

[edit] Controversies

[edit] Industrial Rock vs. Industrial Metal

There is commonly some confusion concerning the difference between Industrial Rock and Industrial Metal genres. The problems of categorisation stem from the "fusional origins" of the musical styles, as well as issues of subjectivity, and are considered further in the main article on musical genres. For example: stalwarts Nine Inch Nails and KMFDM and other bands (such as Orgy[18]) are considered both Industrial Rock[19] and Industrial Metal[20].

The main differences between (early) Industrial Rock and Industrial Metal can be compared to the latter's adoption of elements from extreme forms of Punk and Heavy Metal - elements, by the way, not found on the music of the post-punk pioneers of "I-rock". The following items considered below are an attempt to differentiate Industrial Rock from it's metallic cousin[citation needed]:

  • Palm-Muted Speed Picking: Palm-muted speed picking is a defining element of Thrash Metal[28]. Notable Industrial songs that use this technique include: "Thieves" (Ministry), "Mr. Self Destruct" (Nine Inch Nails), the chorus of White Zombie's "More Human Than Human" and the majority of Fear Factory's compositions.
  • Guitar Solos: Although rare in Industrial Metal, guitar solos are a staple of the Hard Rock and Heavy Metal world. A few specimens: Adrian Belew's "guitar-texturing"[29] on the The Downward Spiral and a couple of songs off Psalm 69. (To be precise, "N.W.O." and "Jesus Built My Hotrod").
  • Unusually Fast Tempi: Industrial Metal songs sometimes use the incredibly fast tempi of Hardcore Punk[30]. These sped-up songs were also influenced by Metal subgenres that absorbed Hardcore's speed, such as Thrash[31] and Grindcore[32]. Fast music: "Envoyé" (The Young Gods), Ministry's "TV Song II", NIN's "March of the Pigs" and Marilyn Manson's "Antichrist Superstar" (the song).

[edit] Mixed-Reactions from Inside the 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-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"[37].
  • 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"[38].

[edit] Wavering Popularity

[edit] The Decline in America

While Industrial Rock 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"[43]. Oddly enough, in the said review DeRogatis considered The Fragile a "commercial flop"[44]. A strange thought indeed for a double-album that reached the top spot of the Billboard 200[45] and went on to earn a Double Platinum status[46] - and was later named by Spin as "Album of the Year"[47].

A myriad of other reasons conspire to support Jim 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[citation needed].
  • America's electronica craze, starting in 1997. Many critics that championed Alternative Rock in the early 1990s now turned their hyping skills toward the dance music craze coming from England[48]. Despite all the hype surrounding it, electronica was unable to out-sell Industrial Rock[49].

Recent controversial assessments of Industrial Rock include a recent interview with Skinny Puppy conducted by Matt Child. A scathing excerpt condemns the genre as simply plagiarizing earlier influences:

"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."[50].

[edit] 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 Deutsche Härte, in particular, has had an incredible success rate on continental Europe. Its leading light, Rammstein, has sold nearly 4 million records in Germany alone[51], while racking up gold (and platinum) records in Sweden[52], Austria[53], Belgium[54], the Netherlands[55], Switzerland[56], Denmark[57], Norway[58], Poland[59][60] and the Czech Republic[61].

Other like-minded German musicians have been making dents in the charts as well. Neue Deutsche Härte pioneers Oomph! have achieved a gold record for their Augen Auf! (2004) single[62]. Eisbrecher's debut entered at #13 on the Deutschen Alternative Top 20 Chart[63], while the group's second album (Antikörper, 2006) reached the #85 position on the German main chart[64].

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. Termination Bliss (2006), the sophomore Deathstars effort, landed on #87 in the German Media Control Chart[65]. They've already toured with goth metal "superstars" Paradise Lost and Lacuna Coil; as of September 2007, they're the opening act of Korn's European tour[66]. The Norwegian horror rockers Gothminister released their debut single "Angel" which entered at #10 on the Deutschen Alternative Top 20 Chart[67]. "Monsters" reached a peak position at #11. The Kovenant won two Spellemann awards[68], the Norwegian equivalent to the Grammys[69].

[edit] Artists

[edit] Labels

[edit] Sales & Awards

Main article: 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.

[edit] See also

[edit] Notes

  1. ^ Savage, Jon. Introduction. In: Vale, Vivian; Juno, Andrea. RE/Search #6-7: Industrial Culture Handbook. San Francisco, CA: RE/SEARCH PUBLICATIONS, 1983, p. 5.
  2. ^ Throbbing Gristle. In: Vale, Vivian; Juno, Andrea. RE/Search #6-7: Industrial Culture Handbook. San Francisco, CA: RE/SEARCH PUBLICATIONS, 1983, p. 9.
  3. ^ Vale, Vivian; Juno, Andrea. RE/Search #6-#7: Industrial Culture Handbook. San Francisco, CA: RE/SEARCH PUBLICATIONS, 1983.
  4. ^ IRVIN, Jim. The Mojo Collection: The Greatest Albums of All Time. Edinburgh: Cannongate, 2001, p. 442.
  5. ^ REYNOLDS, Simon. Rip it up and start again: postpunk 1978-1984. London: Faber and Faber Limited, 2005, p. 257-8.
  6. ^ Ibid, p. 435.
  7. ^ Licht, Alan. Tunnel Vision. The Wire, n. 233, p. 30-37, jul 2003.
  8. ^ Sharp, Chris. Atari Teenage Riot: 60 Second Wipe Out. The Wire, n. 183, p. 48-49, may 1999.
  9. ^ CERTIFIED AWARDS. THE BPI. Retrieved on 2007-08-24.
  10. ^ GOLD AND PLATINUM - Searchable Database. RIAA. Retrieved on 2007-12-12.
  11. ^ 35th Annual Grammy Awards - 1993. ROCK ON THE NET. Retrieved on 2007-12-12.
  12. ^ 38th Annual Grammy Awards - 1996. ROCK ON THE NET. Retrieved on 2007-12-14.
  13. ^ 40th Annual Grammy Awards - 1998. ROCK ON THE NET. Retrieved on 2007-12-14.
  14. ^ TIME'S 25 MOST INFLUENTIAL AMERICANS. TIME (1997-04-21). Retrieved on 2007-12-14.
  15. ^ 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.
  16. ^ GOLD AND PLATINUM - Searchable Database. RIAA. Retrieved on 2007-08-25.
  17. ^ Same as above.
  18. ^ Bonyata, Tony. Orgy Candy Coats Industrial-Metal. Concert Livewire. Retrieved on 2007-09-25.
  19. ^ Industrial Rock Weekly Top 100 Music Videos.[1-10]. MICKEY.TV. Retrieved on 2007-09-25.
  20. ^ Stillman, Brian. The Revolver Record Collection Part 3: Industrial. Revolver, No. 36, p. 68-9, June 2005.
  21. ^ crust. Urban Dictionary: Define Your World (2004-05-13). Retrieved on 2007-10-01.
  22. ^ ork, Will (July 2004). Voices from hell. San Francisco Bay Guardian. Retrieved on 2007-09-25.
  23. ^ Grindcore. allmusic. Retrieved on 2007-10-12.
  24. ^ Fusilli, Jim (Wednesday, February 1, 2006). That's Good Enough for Me. The Wall Street Journal. Retrieved on 2007-09-25.
  25. ^ growl. Urban Dictionary: Define Your World (2006-04-13). Retrieved on 2007-09-30.
  26. ^ Playing the Double Bass Pedal. Bass Drum System. Retrieved on 2007-09-30.
  27. ^ Learn How To Be A Heavy Metal Drummer. How to Play Drums with Drum Lessons. Retrieved on 2007-09-30.
  28. ^ Thrash. allmusic. Retrieved on 2007-10-12.
  29. ^ Nine Inch Nails Meets The Lone Rhino. Guitar Player (April 1993). Retrieved on 2007-09-27. Archived at Nine Inch Nails: Painful Convictions
  30. ^ Hardcore Punk. allmusic. Retrieved on 2007-10-12.
  31. ^ Thrash. allmusic. Retrieved on 2007-10-12.
  32. ^ Mudrian, Albert. Choosing Death: the Improbable History of Death Metal and Grindcore. Los Angeles, CA: Feral House, 2004, p. 31.
  33. ^ The Godflesh FAQ. Godflesh-Crumbling Flesh. Retrieved on 2007-09-25.
  34. ^ Jenkins, Ryan. Divine Heresy - Interview with Dino. Planet-Loud Dot Com. Retrieved on 2007-10-10.
  35. ^ MIKE RIGGS (ROB ZOMBIE guitar player). White Zombie + Rob Zombie : Zombie Land II. Retrieved on 2007-09-25.
  36. ^ Termination Bliss guitar tabs. DEATHSTARS (2007-01-01). Retrieved on 2007-09-28.
  37. ^ Keenan, David (1998-07-21). Time Out Of Joint. THE WIRE - ADVENTURES IN MODERN MUSIC. Retrieved on 2007-09-08.
  38. ^ FERGUNSON, Paul. Terror Against Terror: Lustmord's dancefloor coup. Industrial Nation, no. 7, p. 53-7, Spring 1993.
  39. ^ Bali, Gunnar (May 1995). ???. New Life. Retrieved on 2007-09-08. Archived at Litany: Music News Covering Skinny Puppy, Download, ohGr and Related Projects.
  40. ^ Radish, Diakon (1997). cEvin Key: Music for Cats and Video Games. New Empire. Retrieved on 2007-09-08. Archived at Litany: Music News Covering Skinny Puppy, Download, ohGr and Related Projects.
  41. ^ BRIGHT, Matt. Dog Gone. Melody Maker, p. 39, February 24th 1996.
  42. ^ GILL, Chris; ROTONDI, James. Heady Metal. Guitar Player, v. 30, n. 3, p. 74-82, mar 1996.
  43. ^ DeRogatis, Jim (April 2000). Nine Inch Nails stuck in the '90s. Chicago Sun Times. Retrieved on 2007-08-24. Archived at The NIN Hotline.
  44. ^ Same as above.
  45. ^ Soeder, John (2000-04-09). Rock's outlook bleak, but this Nail won't bend. Cleveland.com. Retrieved on 2006-10-28. Archived at The NIN Hotline.
  46. ^ GOLD AND PLATINUM - Searchable Database. RIAA. Retrieved on 2007-08-24.
  47. ^ Kaufman, Gil. "Rock radio pumps up volume", SonicNet News, 1999-12-02. Retrieved on 2007-08-24.  Archived at The NIN Hotline.
  48. ^ HOCHMAN, Steve. Rock & Roll: Hype or Hope? Rolling Stone, p. 20-1, n. 756, mar 1997.
  49. ^ 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.
  50. ^ Child, Matt (2007-02-26). Dog Days: Skinny Puppy. Aversion.com - Rock, Punk, Indie news. Retrieved on 2007-09-08.
  51. ^ Gold/Platin Datenbank durchsuchen. www.ifpi.de - Die deutschen Phonoverbände. Retrieved on 2007-12-14.
  52. ^ GULD & PLATINA - År 2004. IFPI. Retrieved on 2007-12-14.
  53. ^ Gold und Platin Datenbank. IFPI Austria, Verband der Österreichischen Musik Wirstchaft. Retrieved on 2007-12-14.
  54. ^ Belgium Database. Charts français. Retrieved on 2007-12-14.
  55. ^ Goud/Platina Muziek. nvpi. Retrieved on 2007-12-14.
  56. ^ Search for: Rammstein. The Official Swiss Charts and Music Community. Retrieved on 2007-12-14.
  57. ^ Guld og platin. IFPI Danmark - IFPI.dk. Retrieved on 2007-12-14.
  58. ^ SØK I TROFÉER. IFPI Norsk platebransje. Retrieved on 2007-12-14.
  59. ^ Platinium certification awards. Związek Producentów Audio-Video. Retrieved on 2007-12-14.
  60. ^ Gold certification awards. Związek Producentów Audio-Video. Retrieved on 2007-12-14.
  61. ^ TIMELINE: October 28, 2005. RAMMSTEIN :: News. Retrieved on 2007-12-14.
  62. ^ Gold/Platin Datenbank durchsuchen. www.ifpi.de - Die deutschen Phonoverbände. Retrieved on 2007-12-14.
  63. ^ Former MEGAHERZ Duo Launch EISBRECHER. BLABBERMOUTH.NET (2004-05-24). Retrieved on 2007-08-24.
  64. ^ EISBRECHER: 'Antikörper' Enters German Chart At No. 85. BLABBERMOUTH.NET (2006-11-02). Retrieved on 2007-08-24.
  65. ^ DEATHSTARS: 'Virtue To Vice' Video Posted Online. BLABBERMOUTH.NET (June 13, 2007 2007-06-13). Retrieved on 2007-10-07.
  66. ^ News Library: Live. Nuclear Blast Europe (September 2007). Retrieved on 2007-10-10.
  67. ^ BIO(short version). Gothminister. Retrieved on 2007-10-10.
  68. ^ IFPI Norsk platebransje. Spellemannprisen. Retrieved on 2007-12-14.
  69. ^ Spellemannsprisen - the Norwegian equivalent to the Grammy Awards. MIC - Musikkinformasjonssenteret. Retrieved on 2007-12-14.
v • d • e
Industrial
Post-industrial developmentsAmbient Industrial - Dark Ambient - Death Industrial - Electronic body music - Martial Industrial - Neofolk - Noise - Power Electronics
Fusion Genres / DerivativesDark electro - Electro-industrial - Industrial hardcore - Industrial metal - Industrial rock - Industrial techno - Power noise - Technoid
Other electronic music genresAmbient - Breakbeat - Drum and bass - Electro - UK garage - Hardcore - House - Industrial - Synthpop - Techno - Trance - Triphop
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