List of industrial music genres
[1] This list details some of these offshoots, including fusions with other experimental and electronic music genres as well as rock, folk, heavy metal and hip hop.
German group Einstürzende Neubauten forged their own style, which mixed metal percussion, guitars and unconventional instruments (such as jackhammers and bones) in stage performances that often damaged the venues in which they played.
[8] Dark ambient projects like Coil,[9] Lilith,[10] Nurse with Wound,[11] Lustmord,[12] and Zoviet France,[13] evolved out of industrial music during the 1980s.
[14] The last material that Throbbing Gristle recorded in the studio, In the Shadow of the Sun and Journey Through a Body, was ambient, and pointed in the direction that TG's offshoots (notably Coil, Chris & Cosey) would take.
[15] Other artists include Long Distance Poison,[16] Hafler Trio,[17] MRT, Kim Cascone,[18] Controlled Bleeding,[19] Nine Inch Nails (on their album Ghosts I–IV),[20] early Techno Animal,[21] prominent game music composer Akira Yamaoka, Robin Rimbaud,[22] Final[23] and Deutsch Nepal.
Other artists include Armageddon Dildos,[36][37] Die Krupps,[38] à;GRUMH...,[39] A Split-Second,[40] And One,[41] Bigod 20,[42] The Neon Judgement,[43] and Attrition.
In 1985, Stewart, former Pop Group singer, released As the Veneer of Democracy Starts to Fade, applying the cut-up style of industrial music with the house band of Sugar Hill Records (Doug Wimbish, Keith Leblanc, and Skip McDonald).
[45] Sherwood was a major figure in British dub music, as well as working with industrial groups such as Cabaret Voltaire, Einstürzende Neubauten, Ministry, KMFDM, and Nine Inch Nails.
The later work of Broadrick's Godflesh,[51] as well as his collaborations with Kevin Martin, Ice,[52] and Techno Animal,[51] are examples of industrial hip hop.
The early fusions of industrial music and rock were practiced by a handful of post-punk groups, including Chrome,[55] Killing Joke,[56] Swans,[57]: 32 Big Black,[58] and Foetus.
[64][65] Popular and active in the 1980s and 1990s but continuing into the early 21st century, the Japanoise scene is defined by its sense of musical freedom: Groups range from the punk demolition of Hanatarash[66] and its subsequent psychedelic Boredoms evolutions,[67] to the tabletop electronics of Incapacitants[68] and Merzbow.
Neofolk is the music of artists like Douglas Pearce of Death In June,[74] Tony Wakeford of Sol Invictus,[75] and David Tibet of Current 93,[76] who had collaborated with one another.
[70] It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics.
[87][88] Witch house consists of applying techniques rooted in Swishahouse hip-hop – drastically slowed tempos with skipping, stop-timed beats[89] – with signifiers of noise, drone, or shoegaze, the genre recontextualizes its forebears into a sinister, unprecedented, yet aesthetically referential atmosphere.
[92][93] The use of hip-hop drum machines, noise atmospherics, creepy samples,[94] synthpop-influenced lead melodies, and heavily altered or distorted vocals is also common.
