Editing Industrial music (section)

===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"/>