Editing Electronic body music (section)

===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>