Editing Electronic body music (section)

===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 />