Editing Industrial music (section)

==History==

===Precursors===
Industrial music drew from a broad range of predecessors. According to the ''[[Oxford English Dictionary]]'', the genre was first named in 1942 when ''[[The Musical Quarterly]]'' called [[Dmitri Shostakovich|Dmitri Shostakovich's]] 1927 [[Symphony No. 2 (Shostakovich)|Symphony No. 2]] "the high tide of 'industrial music'."<ref name=OED1>{{Cite OED|term=Industrial}}</ref> Similarly, in 1972, ''[[The New York Times]]'' described works by [[Ferde Grofé]] (especially 1935's ''A Symphony in Steel'') as part of "his 'industrial music' genre [that] called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatic drill and a compressed-air tank".<ref name="NYT1">{{cite journal |last1=Henahan |first1=Donal |title=Limned the Landscape |journal=[[The New York Times]] |date=April 4, 1972 |page=46 |url=https://www.nytimes.com/1972/04/04/archives/limned-the-landscape.html |access-date=November 17, 2018}}</ref> Though these compositions are not directly tied to what the genre would become, they are early examples of music designed to mimic machinery noise and factory atmosphere. Early examples of industrial music are arguably found in [[Pierre Schaeffer]]'s 1940s [[musique concrète]] and the tape music of [[Halim El-Dabh]], the former of which is akin to the aesthetics of 1970s industrial music, while artists such as early 20th century Italian [[futurist]] [[Luigi Russolo]] laid the groundwork for the genre with his book and work ''[[The Art of Noises]]'' (1913), reflecting "the sounds of a modern [[industrial society]]".<ref>{{cite journal | url=https://www.jstor.org/stable/942398 | jstor=942398 | last1=Brown | first1=Barclay | title=The Noise Instruments of Luigi Russolo | journal=Perspectives of New Music | year=1981 | volume=20 | issue=1/2 | pages=31–48 | doi=10.2307/942398 }}</ref>

[[AllMusic]] assessed 1960s English experimental group [[AMM (band)|AMM]] as originators of the genre, as well as to [[electronica]], [[free improvisation]] and [[noise music]], writing that the "experimentation in sonic assault, noise, and [[Indeterminacy (music)|chance sound]] (including [[transistor radios]])" on their debut album ''AMMMusic'' (1967) would "reach the rock fringes in the work of industrial groups like [[Test Dept]]".<ref>{{cite web |last1=Olewnick |first1=Brian |title=Ammmusic Review by Brian Olewnick |url=https://www.allmusic.com/album/ammmusic-mw0000026381 |website=AllMusic |access-date=23 August 2022}}</ref> [[Cromagnon (band)|Cromagnon]]'s album ''[[Orgasm (Cromagnon album)|Orgasm]]'' (1969) has been cited by AllMusic's Alex Henderson as foreshadowing industrial, [[noise rock]] and [[no wave]], with the track "Caledonia" resembling "a [[Ministry (band)|Ministry]] or [[Revolting Cocks]] recording from 1989".<ref>{{cite web |last1=Henderson |first1=Alex |title=Orgasm Review by Alex Hederson |url=https://www.allmusic.com/album/orgasm-mw0000619006 |website=AllMusic |access-date=23 August 2022}}</ref> The 1970 album ''[[Klopfzeichen]]'' by [[krautrock]] band [[Kluster]] has also been called an early precursor of industrial music.<ref>{{Cite web |title=KLUSTER - Forced Exposure |url=https://www.forcedexposure.com/Artists/KLUSTER.html |access-date=2023-05-02 |website=www.forcedexposure.com}}</ref> In 1981, music critic [[Lester Bangs]] referenced "the Sounds of the Junkyard" (1964), an album made up of industrial [[Field recording|field recordings]] released by [[Folkways Records]], in his guide to "horrible noise".<ref>{{Cite web |title=Lester Bangs–A Reasonable Guide to Horrible Noise |url=https://markharrisstudio.com/lester-bangs-a-reasonable-guide-to-horrible-noise/ |access-date=2024-06-15 |website=Mark Harris |language=en-US}}</ref>

[[File:Frank Zappa - Capt. Beefheart.jpg|thumb|right|upright|[[Frank Zappa]] and [[Captain Beefheart]] in 1975, cited as inspirations by Herman Taylor]]
In the book ''Interrogation Machine: Laibach and NSK'', Alexei Monroe argues that [[Kraftwerk]] were particularly significant in the development of industrial music, as the "first successful artists to incorporate representations of industrial sounds into nonacademic electronic music."<ref name=monroe>Monroe, p. 212</ref> Industrial music was created originally by using mechanical and electric machinery and later advanced synthesizers, samplers and electronic percussion as the technology developed. Monroe also argues for [[Suicide (band)|Suicide]] as an influential contemporary of industrial musicians.<ref name=monroe/> Groups cited as inspirational by the founders of industrial music include [[the Velvet Underground]], [[Joy Division]], and [[Martin Denny]].<ref>''RE/Search'' #6/7, p. 11–12.</ref> [[Genesis P-Orridge]] of [[Throbbing Gristle]] had a cassette library including recordings by [[The Master Musicians of Joujouka]], [[Kraftwerk]], [[Charles Manson]], and [[William S. Burroughs]].<ref>''RE/Search'' #6/7, p. 19.</ref> P-Orridge also credited 1960s rock such as [[the Doors]], [[Pearls Before Swine (band)|Pearls Before Swine]], [[the Fugs]], [[Captain Beefheart]], and [[Frank Zappa]] in a 1979 interview.{{sfn|Reynolds|2005|p=225}} The dissonant electronic work of [[krautrock]] groups like [[Faust (band)|Faust]] and [[Neu!]] was an influence on industrial artists.<ref>{{cite web|url={{AllMusic|class=artist|id=p17471|pure_url=yes}} |title=Faust |publisher=[[All Media Guide]] |access-date=1 March 2010}}</ref><ref>{{Cite web |last=says |first=M. |date=2008-04-10 |title=Klaus Dinger : 1946-2008 |url=https://aquariumdrunkard.com/2008/04/10/klaus-dinger-1946-2008/ |access-date=2023-11-26 |website=Aquarium Drunkard |language=en-US}}</ref> 

[[Chris Carter (British musician)|Chris Carter]] also enjoyed and found inspiration in [[Pink Floyd]] and [[Tangerine Dream]].{{sfn|Reynolds|2005|p=227}} [[Boyd Rice]] was influenced by the music of '60s [[girl groups]] and [[tiki culture]].<ref>''RE/Search'' #6/7, p. 67.</ref> [[Z'EV]] cited Christopher Tree (Spontaneous Sound), [[John Coltrane]], [[Miles Davis]], [[Tim Buckley]], [[Jimi Hendrix]], and Captain Beefheart, among others together with [[Music of Tibet|Tibetan]], [[Music of Bali|Balinese]], [[Music of Indonesia|Javanese]], [[Music of India|Indian]], and [[Music of Africa|African music]] as influential in his artistic life.<ref>''RE/Search'' #6/7, p. 117</ref> Cabaret Voltaire cited [[Roxy Music]] as their initial forerunners, as well as Kraftwerk's ''[[Trans-Europe Express (album)|Trans-Europe Express]]''.{{sfn|Reynolds|2005|pp=154, 159}} Cabaret Voltaire also recorded pieces reminiscent of ''[[musique concrète]]'' and composers such as [[Morton Subotnick]].{{sfn|Reynolds|2005|p=156}} [[Nurse with Wound]] cited [[Nurse with Wound list|a long list]] of obscure [[free improvisation]] and [[Krautrock]] as recommended listening.{{sfn|Reynolds|2005|p=242}} [[23 Skidoo (band)|23 Skidoo]] borrowed from [[Fela Kuti]] and Miles Davis's ''[[On the Corner]]''.{{sfn|Reynolds|2005|p=243}} Many industrial groups, including [[Einstürzende Neubauten]], took inspiration from [[world music]].{{sfn|Reynolds|2005|p=485}}

Many of the initial industrial musicians preferred to cite artists or thinkers, rather than musicians, as their inspiration. [[Simon Reynolds]] declares that "Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism."<ref>{{cite news|url=https://www.theguardian.com/music/musicblog/2009/apr/07/sonic-youth-underground-influences|title=Sonic Youth are caught under the influence|last=Reynolds|first=Simon|date=April 7, 2009|work=The Guardian |publisher=Guardian News and Media Limited|access-date=October 28, 2009}}</ref> [[John Cage]] was an initial inspiration for Throbbing Gristle.{{sfn|Reynolds|2005|p=226}} SPK appreciated [[Jean Dubuffet]], [[Marcel Duchamp]], [[Jean Baudrillard]], [[Michel Foucault]], [[Walter Benjamin]], [[Marshall McLuhan]], [[Friedrich Nietzsche]], and [[Gilles Deleuze]], as well as being inspired by the manifesto of the eponymous [[Socialist Patients' Collective]].<ref>''RE/Search'' #6/7, p. 97–105.</ref> Cabaret Voltaire took conceptual cues from Burroughs, [[J. G. Ballard]], and [[Tristan Tzara]].{{sfn|Reynolds|2005|pp=154–155, 171}} [[Whitehouse (band)|Whitehouse]] and [[Nurse with Wound]] dedicated some of their work to the [[Marquis de Sade]]; the latter also took impetus from the [[Comte de Lautréamont]].{{sfn|Reynolds|2005|p=242}}

Another influence on the industrial aesthetic was Lou Reed's ''[[Metal Machine Music]]''. ''Pitchfork Music'' cites this album as "inspiring, in part, much of the contemporary avant-garde music scene—noise, in particular."<ref>{{cite web | url=http://pitchfork.com/features/interviews/6690-lou-reed/ | author=Petrusich, Amanda | title=Interviews: Lou Reed | website=[[Pitchfork (website)|Pitchfork]] | date=September 17, 2007 | access-date=April 16, 2010 | archive-date=August 23, 2011 | archive-url=https://web.archive.org/web/20110823033630/http://pitchfork.com/features/interviews/6690-lou-reed/ | url-status=dead }}</ref> The album consists entirely of guitar feedback, anticipating industrial's use of non-musical sounds.''[[The New York Times]]'' described American [[avant-garde music|avant-garde band]] [[the Residents]] as having "presaged forms of punk, new wave and industrial music".<ref>{{cite news|url=https://www.nytimes.com/2018/11/03/obituaries/hardy-fox-dead.html|title=Hardy Fox, of the Avant-Garde Band the Residents (Maybe), Dies at 73|last=Slotnik|first=Daniel E.|website=[[New York Times]]|date=November 3, 2018|access-date=April 27, 2020}}</ref>

===Early years===

{| class="wikitable sortable"
|+ First studio EP or LP albums by early industrial bands
|-
! Band
! Country
!  class="unsortable" |Studio album
! Album date
|-
| [[Throbbing Gristle]]
| {{flagicon|United Kingdom}}
| ''[[The Second Annual Report]]''
| 1977
|-
| [[Cabaret Voltaire (band)|Cabaret Voltaire]]
| {{flagicon|United Kingdom}}
| ''[[Mix-Up]]''
| 1979
|-
| [[Chrome (band)|Chrome]]
| {{flagicon|United States}}
| ''[[Half Machine Lip Moves]]'''''*'''
| 1979
|-
| [[Nurse With Wound]]
| {{flagicon|United Kingdom}}
| ''[[Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella]]''
| 1979
|-
| [[Clock DVA]]
| {{flagicon|United Kingdom}}
| ''[[White Souls in Black Suits]]''
| 1980
|-
| [[Killing Joke]]
| {{flagicon|United Kingdom}}
| ''[[Killing Joke (1980 album)|Killing Joke]]''
| 1980
|-
| [[Whitehouse (band)|Whitehouse]]
| {{flagicon|United Kingdom}}
| ''[[Birthdeath Experience]]''
| 1980
|-
| [[Die Krupps]]
| {{flagicon|West Germany}}
| ''Stahlwerksynfonie''
| 1981
|-
| [[Einstürzende Neubauten]]
| {{flagicon|West Germany}}
| ''[[Kollaps]]''
| 1981
|-
| [[Foetus (band)|Foetus]]
| {{flagicon|Australia}}
| ''[[Deaf (album)|Deaf]]''
| 1981
|-
| [[The Neon Judgement]]
| {{flagicon|Belgium}}
| ''Suffering''
| 1981
|-
| [[Nocturnal Emissions]]
| {{flagicon|United Kingdom}}
| ''Tissue of Lies''
| 1981
|-
| [[The Residents]]
| {{flagicon|United States}}
| ''[[Mark of the Mole]]'''''*'''
| 1981
|-
| [[SPK (band)|SPK]]
| {{flagicon|Australia}}
| ''[[Information Overload Unit]]''
| 1981
|-
| [[Z'EV]]
| {{flagicon|United States}}
| ''Production and Decay of Spacial Relations''
| 1981
|-
| [[Front 242]]
| {{flagicon|Belgium}}
| ''[[Geography (Front 242 album)|Geography]]''
| 1982
|-
| [[Boyd Rice|NON / Boyd Rice]]
| {{flagicon|United States}}
| ''Physical Evidence''
| 1982
|-
| [[Psychic TV]]
| {{flagicon|United Kingdom}}
| ''[[Force the Hand of Chance]]''
| 1982
|-
| [[Sleep Chamber]]
| {{flagicon|United States}}
| ''Speak in Tongues''
| 1982
|-
| [[Zoviet France]]
| {{flagicon|United Kingdom}}
| ''[[Garista]]''
| 1982
|-
| [[Attrition (band)|Attrition]]
| {{flagicon|United Kingdom}}
| ''Action and Reaction''
| 1983
|-
| [[Nitzer Ebb]]
| {{flagicon|United Kingdom}}
| ''Basic Pain Procedure''
| 1983
|-
| [[Swans (band)|Swans]]
| {{flagicon|United States}}
| ''[[Filth (Swans album)|Filth]]''
| 1983
|-
| [[Coil (band)|Coil]]
| {{flagicon|United Kingdom}}
| ''[[How to Destroy Angels (Coil EP)|How to Destroy Angels]]''
| 1984
|-
| [[Current 93]]
| {{flagicon|United Kingdom}}
| ''[[Nature Unveiled]]''
| 1984
|-
| [[Hanatarash]]
| {{flagicon|Japan}}
| ''Take Back Your Penis!''
| 1984
|-
| [[KMFDM]]
| {{flagicon|West Germany}}
| ''[[Opium (KMFDM album)|Opium]]''
| 1984
|-
| [[Skinny Puppy]]
| {{flagicon|Canada}}
| ''[[Remission (EP)|Remission]]''
| 1984
|-
| [[Test Dept]]
| {{flagicon|United Kingdom}}
| ''Ecstacy Under Duress''
| 1984
|- class="sortbottom"
| colspan=4 style="text-align: center;" | '''*'''earlier albums not industrial 
|}

====Industrial Records====
''Industrial Music for Industrial People'' was originally coined by [[Monte Cazazza]]<ref name="Industrial Records at Brainwashed" /> as the strapline for the record label [[Industrial Records]], founded by British art-provocateurs Throbbing Gristle.<ref name="Kilpatrick, Nancy 2004, p. 86">[[Nancy Kilpatrick|Kilpatrick, Nancy]]. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: St. Martin's Griffin, 2004, {{ISBN|0-312-30696-2}}, p. 86.</ref> The first wave of this music appeared with Throbbing Gristle, from London; Cabaret Voltaire, from Sheffield;<ref>''RE/Search'' #6/7, p. 42–49.</ref> and Boyd Rice (recording under the name NON), from the United States.<ref>''RE/Search'' #6/7, p. 50–67.</ref> Throbbing Gristle first performed in 1976,{{sfn|Reynolds|2005|p=224}} and began as the musical offshoot of the [[Kingston upon Hull]]-based [[COUM Transmissions]].<ref name="research pg17">''RE/Search'' #6/7, p. 17.</ref> COUM was initially a psychedelic rock group, but began to describe their work as [[performance art]] in order to obtain grants from the [[Arts Council of Great Britain]].{{sfn|Reynolds|2005|p=226}} COUM was composed of P-Orridge and [[Cosey Fanni Tutti]].{{sfn|Reynolds|2005|p=226}} Beginning in 1972, COUM staged several performances inspired by [[Fluxus]] and [[Viennese Actionism]]. These included various acts of sexual and physical abjection.{{sfn|Reynolds|2005|p=227}} [[Peter Christopherson]], an employee of commercial artists [[Hipgnosis]], joined the group in 1974, with Carter joining the following year.<ref name="research pg17"/>

The group renamed itself Throbbing Gristle in September 1975, their name coming from a northern English slang word for an erection.<ref name="research pg17"/> The group's first public performance, in October 1976, was alongside an exhibit titled ''Prostitution'', which included pornographic photos of Tutti as well as used tampons. Conservative politician [[Nicholas Fairbairn]] declared that "public money is being wasted here to destroy the morality of our society" and blasted the group as "wreckers of civilization."{{sfn|Reynolds|2005|p=229}} The group announced their dissolution in 1981, declaring that their "mission" has been "terminated."{{sfn|Reynolds|2005|p=240}}

====Wax Trax! Records====
{{Main|Wax Trax! Records}}
Chicago record label Wax Trax! Records was prominent in the widespread attention industrial music received starting in the early 1980s. The label was started by Jim Nash and Dannie Flesher. The label's first official release was an EP in 1980 entitled ''Immediate Action'' by [[Strike Under]]. The label went on to distribute some of the most prominent names in industrial throughout the 1980s and 1990s. Wax Trax! also distributed industrial releases in the United States for the Belgium record label Play It Again Sam Records, and had opened a North American office dubbed Play It Again Sam U.S.A. as a division of Wax Trax!. Wax Trax! was subsequently purchased by [[TVT Records]] in 1992 who closed the independent Chicago label in 2001. Jim's daughter, Julia Nash, resurrected Wax Trax! Records in 2011 with a 3-day charity event titled Wax Trax! Retrospectacle - 33 1/3 Year Anniversary. Julia officially released new material in 2014 under the Wax Trax! imprint and continues to run the record label from Chicago.

===Expansion of the scene===

The bands [[Clock DVA]],<ref>{{cite web |url={{AllMusic|class=artist|id=p3923/biography|pure_url=yes}} |title=Clock DVA Biography |last=Ankeny |first=Jason |work=AllMusic |publisher=Rovi Corporation |access-date=October 28, 2009}}</ref> [[Nocturnal Emissions]],<ref>{{cite web|url={{AllMusic|class=artist|id=p19609|pure_url=yes}}|title=Nocturnal Emissions Biography|last=Torreano|first=Bradley|work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> [[Whitehouse (band)|Whitehouse]],<ref>{{cite web|url={{AllMusic|class=artist|id=p21413|pure_url=yes}}|title=Whitehouse Biography | last=Schaefer | first=Peter |work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> [[Nurse with Wound]],{{sfn|Reynolds|2005|p=241}} and [[SPK (band)|SPK]]<ref>''RE/Search'' #6/7, pp. 92–105.</ref> soon followed. Whitehouse intended to play "the most brutal and extreme music of all time", a style they eventually called [[power electronics (music)|power electronics]].{{sfn|Reynolds|2005|p=240}} An early collaborator with Whitehouse, Steve Stapleton, formed Nurse with Wound, who experimented with noise sculpture and sound collage.{{sfn|Reynolds|2005|pp=241–242}} Clock DVA described their goal as borrowing equally from [[surrealist automatism]] and "nervous energy sort of funk stuff, body music that flinches you and makes you move."{{sfn|Reynolds|2005|p=243}} 23 Skidoo, like Clock DVA, merged industrial music with African-American dance music, but also performed a response to world music. Performing at the first [[WOMAD Festival]] in 1982, the group likened themselves to Indonesian [[gamelan]].{{sfn|Reynolds|2005|pp=243–244}} Swedish act [[Leather Nun]] were signed to Industrial Records in 1978, being the first non-TG/Cazazza act to have an IR-release.<ref name="Industrial Records at Brainwashed">{{cite web |url=http://www.brainwashed.com/tg/industrial.html |title=Industrial Records |publisher=[[Brainwashed (website)|Brainwashed]] |access-date=October 28, 2009}}</ref> Their singles eventually received significant airplay in the United States on [[college radio]].<ref>{{cite web|url={{AllMusic|class=artist|id=p18847/biography|pure_url=yes}}|title=Leather Nun Biography | last=Sutton | first=Michael | work=AllMusic | publisher=Rovi Corporation|access-date=October 28, 2009}}</ref>
[[Image:Industrialculturehandbook.jpg|thumb|left|upright|''[[Industrial Culture Handbook]]'' reference guide to the philosophy and interests of a flexible alliance of "deviant" artists<ref>''RE/Search'' #6/7, p. 2.</ref>]]

Across the Atlantic, similar experiments were taking place. In San Francisco, performance artist [[Monte Cazazza]] began recording [[noise music]].<ref>''RE/Search'' #6/7, pp. 68–81.</ref> Boyd Rice released several albums of noise, with guitar drones and tape loops creating a cacophony of repetitive sounds.<ref>''RE/Search'' #6/7, pp. 50–67.</ref> In Boston, [[Sleep Chamber]] and other artists from [[Inner-X-Musick]] began experimenting with a mixture of powerful noise and early forms of [[Electronic body music|EBM]]. In Italy, work by [[Maurizio Bianchi]] at the beginning of the 1980s also shared this aesthetic.<ref>{{cite web|url={{AllMusic|class=artist|id=p56542|pure_url=yes}}|title=Maurizio Bianchi Biography|last=Torreano|first=Bradley|work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> In Germany, Einstürzende Neubauten mixed metal percussion, guitars, and unconventional instruments (such as [[jackhammer]]s and bones) in stage performances that often damaged the venues in which they played.<ref>{{cite web|url={{AllMusic|class=artist|id=p4174/biography|pure_url=yes}}|title=Einstürzende Neubauten Biography|last=Huey|first=Steve|work=AllMusic|publisher=Rovi Corporation|access-date=October 28, 2009}}</ref> Blixa Bargeld, inspired by [[Antonin Artaud]] and an enthusiasm for [[amphetamines]], also originated an art movement called Die Genialen Dilettanten.{{sfn|Reynolds|2005|p=484}} Bargeld is particularly well known for his hissing scream.{{sfn|Reynolds|2005|p=484}}

In January 1984, Einstürzende Neubauten performed a ''Concerto for Voice and Machinery'' at the [[Institute of Contemporary Arts]] (the same site as COUM's ''Prostitution'' exhibition), drilling through the floor and eventually sparking a riot.{{sfn|Reynolds|2005|p=486}} This event received front-page news coverage in England.{{sfn|Reynolds|2005|p=486}} Other groups who practiced a form of industrial "metal music" (that is, produced by the sounds of metal crashing against metal) include [[Test Dept]],<ref name="Test Dept at AllMusic">{{cite web|url={{AllMusic|class=artist|id=p5621|pure_url=yes}}|title=Test Dept. Biography|last=Bush|first=John|work=AllMusic|publisher=Rovi Corporation|access-date=October 27, 2009}}</ref> [[Laibach (band)|Laibach]],<ref>Monroe, p. 222.</ref> and [[Die Krupps]], as well as Z'EV and SPK.{{sfn|Reynolds|2005|p=485}} Test Dept were largely inspired by [[Russian Futurism]] and toured to support the [[UK miners' strike (1984–1985)|1984-85 UK miners' strike]].{{sfn|Reynolds|2005|p=489}} [[Skinny Puppy]] embraced a variety of industrial forefathers and created a lurching, impalatable whole from many pieces. [[Swans (band)|Swans]], from New York City, also practiced a metal music aesthetic, though reliant on standard rock instrumentation.{{sfn|Reynolds|2005|p=487}} Laibach, a [[Slovenia]]n group who began while [[Socialist Federal Republic of Yugoslavia|Yugoslavia]] remained a single state, were very controversial for their iconographic borrowings from [[Stalinism|Stalinist]], [[Nazi]], [[Titoist]], [[Dada]], and Russian Futurist imagery, conflating Yugoslav patriotism with its German authoritarian adversary.<ref>Monroe, p. 96.</ref> [[Slavoj Žižek]] has defended Laibach, arguing that they and their associated [[Neue Slowenische Kunst]] art group practice an overidentification with the hidden perverse enjoyment undergirding authority that produces a subversive and liberatory effect.<ref>Slavoj Žižek, [http://xenopraxis.net/readings/zizek_laibach.pdf "Why Are Laibach and NSK Not Fascists?,"] ''M'ARS'' 3–4, 1993, pp. 3–4.</ref> In simpler language, Laibach practiced a type of agitprop that was widely utilized by industrial and punk artists on both sides of the Atlantic.

Following the breakup of Throbbing Gristle, P-Orridge and Christopherson founded [[Psychic TV]] and signed to a major label.{{sfn|Reynolds|2005|p=474}} Their first album was much more accessible and melodic than the usual industrial style, and included hired work by trained musicians.{{sfn|Reynolds|2005|pp=474–475}} Later work returned to the sound collage and noise elements of earlier industrial.{{sfn|Reynolds|2005|pp=480–481}} They also borrowed from funk and [[disco]]. P-Orridge also founded [[Thee Temple ov Psychick Youth]], a quasi-religious organization that produced [[video art]].{{sfn|Reynolds|2005|p=476}} Psychic TV's commercial aspirations were managed by Stevo of [[Some Bizzare Records]], who released many of the later industrial musicians, including Einstürzende Neubauten, Test Dept, and Cabaret Voltaire.{{sfn|Reynolds|2005|p=477}}

Around 1983, Cabaret Voltaire members were deeply interested in funk music and, with the encouragement of their friends from [[New Order (band)|New Order]], began to develop a form of dark but danceable [[electrofunk]].{{sfn|Reynolds|2005|p=478}} Christopherson left Psychic TV in 1983 and formed [[Coil (band)|Coil]] with [[John Balance]]. Coil made use of gongs and bullroarers in an attempt to conjure "Martian," "homosexual energy".{{sfn|Reynolds|2005|pp=481–482}} [[David Tibet]], a friend of Coil's, formed [[Current 93]], alongside [[Douglas P.]] of [[Death In June]], [[Steven Stapleton]] and Fritz Catlin of [[23 Skidoo (band)|23 Skidoo]]; both Coil and Current 93 were inspired by amphetamines and LSD.{{sfn|Reynolds|2005|p=482}} [[J. G. Thirlwell]], a co-producer with Coil, developed a version of [[black comedy]] in industrial music, borrowing from [[lounge music|lounge]] as well as noise and [[film music]].{{sfn|Reynolds|2005|p=483}} In the early 1980s, the Chicago-based record label [[Wax Trax!]] and Canada's [[Nettwerk]] helped to expand the industrial music genre into the more accessible [[electro-industrial]] and [[industrial rock]] genres.<ref name="Kilpatrick, Nancy 2004, p. 86"/>