Editing Industrial music (section)

===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>