Editing Electronic body music (section)

==History==
===Precursors===
EBM evolved from a combination of [[post-punk]], [[industrial music|industrial]] and post-industrial music sources, including [[The Normal]], [[Suicide (band)|Suicide]], [[Deutsch Amerikanische Freundschaft|DAF]], [[Die Krupps]], [[Killing Joke (band)|Killing Joke]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[Throbbing Gristle]]<ref name="SeanAlbiez" /> and [[Test Dept.]] but also [[krautrock]] and [[Krautrock#Kosmische Musik|Berlin school]]<ref name="Adelt181">Ulrich Adelt: ''Krautrock. German Music in the Seventies.'' University of Michigan Press, 2016, {{ISBN|0-472-05319-1}}, p.&nbsp;181.</ref> artists such as [[Kraftwerk]] and [[Tangerine Dream]] (who had used electronic bass sequences as a basic feature in their productions).<ref name=hillveld/><ref name="SeanAlbiez" />
[[File:DAF_0016_small.jpg|thumb|250px|right|upright|German proto-EBM band [[Deutsch Amerikanische Freundschaft|DAF]] created the "muscles & machines" image – the basic concept of electronic body music.<ref>Nike Breyer: [https://taz.de/Goerl-meets-Beuys/!683723/ Görl meets Beuys, TAZ, November 2003.]</ref>]]
{{Blockquote
|text=The song "Warm Leatherette" (The Normal, 1978) stands at the beginning of an important development, the electrified version of Punk that had been picked up and transformed in Düsseldorf by bands like [[Die Krupps]], [[Deutsch Amerikanische Freundschaft|DAF]] and [[Liaisons Dangereuses (band)|Liaisons Dangereuses]], music that might be called proto-EBM at least. [...] The role of sequencers, synthesizer and drum machine sounds for the creative process itself and its results are another interesting point concerning EBM. The use of these instruments contributed obviously to the formation of danceable grooves and sound textures that attracted a wider audience.<ref name="Thoughts2">{{cite book |last1=Kaul |first1=Timor |title=Some Thoughts on EBM as a transitional genre. |date=2016 |publisher=Academia.edu |isbn= |pages=2 |url= |access-date= |language=en}}</ref>
|author= Timor Kaul, German musicologist and cultural historian
}}

Other influences include the synth-pop music of [[The Human League]] and [[Fad Gadget]]; and the krautrock-inspired dance hit "[[I Feel Love]]" by [[Giorgio Moroder]] and [[Donna Summer]].<ref>Ulrich Adelt: ''Krautrock. German Music in the Seventies.'' University of Michigan Press, 2016, {{ISBN|0-472-05319-1}}, p.&nbsp;135.<br />"Moroder first experimented with krautrock-oriented synthesizer sounds on his solo album ‚Einzelgänger' (1975), an artistic and commercial failure. It is remarkable that he not only felt the necessity to experiment with synthesizer sounds reminiscent of Berlin School artists like [[Tangerine Dream]] and Klaus Schulze but that these experiments would help him to develop a unique German Disco sound with Summer's 1977 hit ‚I Feel Love'."</ref><ref name="SeanAlbiez" /> Daniel Bressanutti ([[Front 242]]), who helped establish the term EBM, named the soundscapes of [[Tangerine Dream]] and [[Klaus Schulze]] as additional influences along [[Kraftwerk]], [[Throbbing Gristle]], the sequencer-based [[electro-disco]] of Giorgio Moroder,<ref>{{cite web |last=Reynolds |first= Simon|title=Disturbing Sounds to Unruffle the New Age |url=https://www.nytimes.com/1991/02/24/arts/recordings-view-disturbing-sounds-to-unruffle-the-new-age.html |newspaper=[[The New York Times]] |date=1991 |access-date=29 July 2018}}</ref> and the [[punk subculture|punk movement]].<ref name=Fact />

===1981–1987===
Emerging in the early 1980s in [[Germany]] and [[Belgium]],<ref>Judith Platz: ''Electronic Body Music (EBM).'' In: Axel Schmidt, Klaus Neumann-Braun: ''Die Welt der Gothics. Spielräume düster konnotierter Transzendenz.'' VS Verlag für Sozialwissenschaften, Wiesbaden, Dezember 2004, {{ISBN|3-531-14353-0}}, p.&nbsp;270.<br />"Seinen Ursprung hat das Genre Anfang der 1980er-Jahre in Deutschland und Belgien."</ref> bands such as [[Deutsch Amerikanische Freundschaft|DAF]], [[Die Krupps]],<ref>Release Magazine: [http://www.releasemagazine.net/Onrecord/ordiekruppstmh.htm Die Krupps - Too Much History]</ref> [[Liaisons Dangereuses (band)|Liaisons Dangereuses]],<ref name="Thoughts2" /> and [[Front 242]] started to blend danceable rhythms and repetitive sequencer lines.<ref name=Esch>{{cite book |last1=Esch |first1=Rudi |title=Electri_City: The Düsseldorf School of Electronic Music |date=2015 |publisher=Suhrkamp |isbn=9783518464649 |pages=275–347 |url= |access-date=|language=en}}</ref> At the time the genre arose, style-defining synthesizers included [[Korg MS-20]],<ref name=Esch /> [[Roland SH-101]],<ref>S. Alexander Reed: ''Assimilate. A Critical History of Industrial Music.'' Oxford University Press, Oxford 2013, {{ISBN|978-0-19-983260-6}}, p.&nbsp;153.</ref> ARP Odyssey,<ref name=Esch /> [[Emulator II]],<ref name=Reed165/> along with several [[Oberheim]] and [[Yamaha Corporation|Yamaha]] models.<ref name=Esch />

Archetypical songs are ''Verschwende deine Jugend'', ''Alle gegen alle'' and ''[[Alles ist gut|Der Mussolini]]'' by [[Deutsch Amerikanische Freundschaft|DAF]]; ''Wahre Arbeit, wahrer Lohn'', ''Goldfinger'' and ''[[Volle Kraft voraus!|Für einen Augenblick]]'' by [[Die Krupps]]; ''Etre assis ou danser'', ''Los niños del parque'' and ''Avant-après mars'' by [[Liaisons Dangereuses (band)|Liaisons Dangereuses]], and ''[[Geography (Front 242 album)|Body to Body]]'', ''[[Geography (Front 242 album)|U-Men]]'' and ''He Runs Too Fast for Us'' by [[Front 242]].

[[Front 242]] characterized their approach as somewhere between [[Throbbing Gristle]] and [[Kraftwerk]].<ref name="rideout" /> [[Nitzer Ebb]] and [[Portion Control (band)|Portion Control]], influenced by DAF<ref>{{AllMusic|class=album|id=mw0000201484|first=Ned|last=Raggett|label=That Total Age review|access-date=October 7, 2008}}</ref> and [[Cabaret Voltaire (band)|Cabaret Voltaire]], followed soon after. Groups from this era often applied [[socialist realist]] aesthetics, with ironic intent.<ref>{{AllMusic|class=album|id=mw0000311203|first=Ned|last=Raggett|label=Die Kleinen und die Bösen review|access-date=October 7, 2008}}</ref> Other prominent artists were Pankow,<ref>Andi Harriman: [https://post-punk.com/pankow-premiere-new-single-blockupy/ Italian EBM progenitors Pankow], 23 August 2017.</ref> [[Vomito Negro (band)|Vomito Negro]], [[Borghesia]], [[The Neon Judgement]],<ref>{{AllMusic|class=artist|id=mn0000399998|last=Huey|first=Steve|label=Neon Judgement: Biography|access-date=May 19, 2010}}</ref> [[à;GRUMH...]],<ref>{{AllMusic|class=artist|last=Huey|first=Steve|id=mn0000921561/biography|label=à;GRUMH: Biography|access-date=May 19, 2010}}</ref><ref name="SeanAlbiez" /> [[A Split-Second]],<ref>{{AllMusic|class=artist|id=mn0000569418|last=Huey|first=Steve|label=A Split Second: Biography|access-date=May 19, 2010}}</ref> [[The Klinik]], and [[Signal Aout 42]].<ref>{{cite web|url=https://www.discogs.com/fr/artist/31127-Signal-Aout-42|title=Signal-Aout 42|website=Discogs|access-date=5 July 2017}}</ref>

===1988–1993===
In the second half of the 1980s, the genre became popular in Canada ([[Front Line Assembly]]<ref>{{AllMusic|class=artist|last=Ankeny |first=Jason |id=mn0000660941/biography|label=Front Line Assembly: Biography|access-date= May 19, 2010}}</ref>) and the U.S. ([[Ministry (band)|Ministry]],<ref>"...{{nbsp}}this album probably owes more to Front 242 than anything." {{AllMusic|class=album|id=twitch-mw0000207831|last=Esher|first=Alan|label=''Twitch'' review|access-date=March 11, 2009}}</ref> [[Revolting Cocks]],<ref>{{AllMusic|class=artist|last=Jeffries|first=David|id=mn0000888100/biography|label=Revolting Cocks: Biography|access-date=May 19, 2010}}</ref> [[Schnitt Acht]]<ref>{{AllMusic|class=album|id=mw0000266064|last=Henderson|first=Alex|label=Subhuman Minds: Overview|access-date=May 19, 2010}}</ref>)<ref name="SeanAlbiez" /> as well as in Sweden (Inside Treatment, [[Pouppée Fabrikk]], [[Cat Rapes Dog]]) and Japan (2nd Communication, DRP, [[Soft Ballet]]). North American bands started to use EBM-typical bass sequences and combined them with the roughness of [[Hardcore punk|(hardcore) punk]] and [[thrash metal]] (cf. [[industrial metal]]). [[Nine Inch Nails]] continued the cross-pollination between EBM and rock music<ref>{{AllMusic|class=artist|last=Huey|first=Steve|label=Nine Inch Nails: Biography|id=mn0000351733/biography|access-date=May 19, 2010}}</ref> resulting in the album ''[[Pretty Hate Machine]]'' (1989).<ref name="SeanAlbiez" />

Meanwhile, EBM became successful in the underground [[Nightclub|club scene]], particularly in Europe. In this period the most important labels were the Belgian [[Play It Again Sam (record label)|Play It Again Sam]] and [[List of industrial music labels|Antler-Subway]], the German [[Zoth Ommog]], the North American [[Wax Trax! Records|Wax Trax!]] and the Swedish [[Energy Rekords]]. Notable acts at that time included [[And One]],<ref>{{AllMusic|class=artist|last=Ankeny |first=Jason|label=And One: Biography|id=mn0000019161/biography|access-date=May 19, 2010}}</ref> [[Armageddon Dildos]],<ref>{{AllMusic|class=album|last=McDonald |first=Steven|label=Homicidal Dolls: Overview|id=mw0000620129|access-date=May 19, 2010}}</ref> [[Bigod 20]],<ref>{{AllMusic|class=artist|label=Bigod 20: Biography|last=Bush|first=John|id=mn0000762430|access-date=May 19, 2010}}</ref> Insekt,<ref>[http://www.discogs.com/artist/8948-Insekt Insekt]. Retrieved 15 December 2014.</ref> [[Scapa Flow (band)|Scapa Flow]],<ref>{{cite web|url=http://www.discogs.com/artist/83602-Scapa-Flow|title=Scapa Flow|website=Discogs|access-date=5 July 2017}}</ref> [[Orange Sector]],<ref>{{cite web|url=http://www.discogs.com/artist/91861-Orange-Sector|title=Orange Sector|website=Discogs|access-date=5 July 2017}}</ref> [[Paranoid (band)|Paranoid]],<ref>{{cite web|url=https://www.discogs.com/artist/151878-Paranoid-3|title=Paranoid|website=Discogs|access-date=5 July 2017}}</ref> and [[Electro Assassin]].<ref>{{cite web|url=https://www.discogs.com/artist/53944-Electro-Assassin|title=Electro ssassin|website=Discogs|access-date=5 July 2017}}</ref>

Between the early and mid-1990s, many EBM artists ceased activities or changed their musical direction, incorporating more elements of [[rock music|rock]], [[heavy metal music|heavy metal]] and [[electronica]]. The album ''[[06:21:03:11 Up Evil]]'' by [[Front 242]] initiated the end of the EBM era of the 1980s. [[Nitzer Ebb]], one of the most important purveyors of the genre, turned into an [[alternative rock]] band. Without the strength of its figureheads, electronic body music as a discernable music style faded by the mid-1990s.<ref name="SeanAlbiez" />

===Revival===
[[File:20150328_Oberhausen_E-Tropolis_Spetsnaz_0142.jpg|thumb|right|upright|[[Spetsnaz (band)|Spetsnaz]] live at E-tropolis festival, [[Oberhausen]], 2015.]]
In the late 1990s and after the millennium, [[Belgium|Belgian]], [[Sweden|Swedish]] and [[Germany|German]] artists such as [[Ionic Vision]], [[Tyske Ludder]], and [[Spetsnaz (band)|Spetsnaz]]<ref name="SeanAlbiez" /> had reactivated the style. Based on this revival, [[Sweden]] and [[East Germany]] then became the centre of the movement<ref>{{cite book |author-last=Shuker|author-first=Roy |chapter=Gothic Rock |editor-last1=Horn|editor-first1=David |editor-last2=Shepherd|editor-first2=John |editor-last3=Prato|editor-first3=Paolo |title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11 |date=2017 |publisher=Bloomsbury |isbn=9781501326103 |pages=341 |url=https://books.google.com/books?id=WKc0DwAAQBAJ}}</ref> spawning a variety of newcomers. Primarily as a counteracting force against the expanding [[futurepop]] scene,<ref name="Vorndran">Daniela Vorndran: [https://www.reflectionsofdarkness.com/artists-p-t-bandinfo-61/848-spetsnaz Spetsnaz], ''Reflections of Darkness: A Dark Music webzine'', 6 March 2006.</ref> these artists followed a neo-traditionalistic path, often referred to as "old school EBM".<ref name="Kaul" />

Simultaneously, a number of European [[techno]] producers started incorporating elements of EBM into their sound. This tendency grew in parallel with the emerging [[electroclash]] scene<ref name="SeanAlbiez" /> and, as that scene started to decline, artists partly associated with it, such as [[The Hacker]], [[DJ Hell]],<ref>{{cite web|last=Theakston |first=Rob |url={{AllMusic|class=album|id=r617464|pure_url=yes}} |title=Electronicbody-Housemusic > Overview|publisher=allmusic |date=26 November 2002 |access-date=19 May 2010}}</ref> [[Green Velvet]], [[Black Strobe]],<ref>{{cite web|last=Kellman |first=Andy |url={{AllMusic|class=album|id=r692810|pure_url=yes}}|title=Chemical Sweet Girl > Overview|publisher=allmusic |date=1 June 2004 |access-date=19 May 2010}}</ref> and David Carretta, moved towards this [[techno]]/EBM crossover style.

There has been increasing convergence between this scene and the old school EBM scene. Some artists have remixed each other. Most notably, Terence Fixmer joined with [[Nitzer Ebb]]'s [[Douglas McCarthy]] to form [[Fixmer/McCarthy]].<ref>{{cite web |url=http://www.gothtronic.com/?page=23&reviews=4963 |title=Music &#124; CD Reviews |publisher=Gothtronic |access-date=19 May 2010 |archive-date=25 February 2012 |archive-url=https://web.archive.org/web/20120225082341/http://gothtronic.com/?page=23&reviews=4963 |url-status=dead }}</ref>