Editing Industrial music (section)

==Characteristics and history==
The birth of industrial music was a response to "an age [in which] the access and control of information were becoming the primary tools of power."<ref name="ReferenceA">The Secret History of Rock: The Most Influential Bands You've Never Heard by Roni Sarig</ref> At its birth, the genre of industrial music was different from any other music, and its use of technology and disturbing lyrics and themes to tear apart preconceptions about the necessary rules of musical form supports the suggestion that industrial music is modernist music.<ref name="ReferenceA"/> The artists themselves made these goals explicit, even drawing connections to social changes they wished to argue for through their music.

The Industrial Records website explains that the musicians wanted to re-invent rock music, and that their uncensored records were about their relationship with the world.<ref name="industrial records"/> They go on to say that they wanted their music to be an awakening for listeners so that they would begin to think for themselves and question the world around them.  Industrial Records intended the term ''industrial'' to evoke the idea of music created for a new generation, with previous music being more ''agricultural'': P-Orridge stated that "there's an irony in the word 'industrial' because there's the music ''industry''. And then there's the joke we often used to make in interviews about churning out our records like motorcars —''that'' sense of industrial. And ... up till then the music had been kind of based on the [[blues]] and slavery, and we thought it was time to update it to at least Victorian times—you know, the [[Industrial Revolution]]".<ref>''RE/Search'' #6/7, pp. 9–10.</ref>
[[Image:Burroughs1983 cropped.jpg|thumb|upright|[[William S. Burroughs]], a conceptual inspiration for the industrial musicians]]
Early industrial music often featured tape editing, stark percussion and loops distorted to the point where they had degraded to harsh noise, such as the work of early industrial group [[Cabaret Voltaire (band)|Cabaret Voltaire]], which journalist Simon Reynolds described as characterized by "hissing high hats and squelchy snares of rhythm-generator."{{sfn|Reynolds|2005|p=168}}  Carter of Throbbing Gristle invented a device named the "Gristle-izer", played by Christopherson, which comprised a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds.{{sfn|Reynolds|2005|p=228}}

Traditional instruments were often played in nontraditional or highly modified ways. Reynolds described the Cabaret Voltaire members' individual contributions as "[[Chris Watson (musician)|[Chris] Watson]]'s smears of synth slime; [[Stephen Mallinder|[Stephen] Mallinder]]'s dankly pulsing bass; and [[Richard H. Kirk|[Richard H.] Kirk]]'s spikes of shattered-glass guitar."{{sfn|Reynolds|2005|p=168}} Watson custom-built a fuzzbox for Kirk's guitar, producing a unique [[timbre]].{{sfn|Reynolds|2005|pp=169–170}} Carter built speakers, effects units, and synthesizer modules, as well as modifying more conventional rock instrumentation, for Throbbing Gristle.{{sfn|Reynolds|2005|p=227}} Tutti played guitar with a slide in order to produce [[glissando|glissandi]], or pounded the strings as if it were a percussion instrument.{{sfn|Reynolds|2005|p=230}} Throbbing Gristle also played at very high volume and produced ultra-high and sub-bass frequencies in an attempt to produce physical effects, naming this approach as "metabolic music."{{sfn|Reynolds|2005|p=235}}

Vocals were sporadic, and were as likely to be [[bubblegum pop]] as they were to be abrasive [[polemic]]s. Cabaret Voltaire's Stephen Mallinder's vocals were electronically treated.{{sfn|Reynolds|2005|p=170}}

The purpose of industrial music initially was to serve as a commentary on modern society by eschewing what artists saw as trite connections to the past.<ref name="industrial records">{{cite web | url=http://brainwashed.com/tg/industrial.html | title=Industrial Records: Industrial Music for Industrial People | publisher=Brainwashed Inc. | access-date=April 16, 2010}}</ref> Throbbing Gristle opposed the elements of traditional rock music remaining in the [[punk rock]] scene, declaring industrial to be "anti-music."{{sfn|Reynolds|2005|p=230}} Early industrial performances often involved [[taboo]]-breaking, provocative elements, such as [[mutilation]], [[sado-masochistic]] elements and [[totalitarian]] imagery or symbolism, as well as forms of audience abuse,<ref name="RE/Search #6/7, p. 5">''RE/Search'' #6/7, p.&nbsp;5.</ref> such as Throbbing Gristle's aiming high powered lights at the audience.<ref name="ford 8.10">Ford, 8.10</ref>

Industrial groups typically focus on [[transgressive art|transgressive]] subject matter. In his introduction for the ''[[Industrial Culture Handbook]]'' (1983), [[Jon Savage]] considered some hallmarks of industrial music to be organizational autonomy, shock tactics, and the use of synthesizers and "anti-music."<ref name="RE/Search #6/7, p. 5"/> Furthermore, an interest in the investigation of "[[cult]]s, wars, psychological techniques of persuasion, unusual murders (especially by children and [[psychopaths]]), [[forensic pathology]], [[venereology]], [[concentration camp]] behavior, the history of [[uniforms]] and insignia" and [[Aleister Crowley]]'s ''[[magick (Aleister Crowley)|magick]]'' was present in Throbbing Gristle's work,<ref>''RE/Search'' #6/7, p. 9.</ref> as well as in other industrial pioneers. Burroughs's recordings and writings were particularly influential on the scene, particularly his interest in the [[cut-up technique]] and noise as a method of disrupting societal control.<ref>"These ideas contributed some of the theoretical mise-en-scène for emergent Industrial groups such as Throbbing Gristle, SPK, and Cabaret Voltaire, all of whom experimented with cut-up sound and re-contextualised ambient recordings." Sargeant, Jack, "The Primer: William S. Burroughs," ''The Wire'' 300, February 2009, p. 38.</ref> Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism.<ref>''RE/Search'' #6/7, p. 105</ref> Throbbing Gristle's logo was based on the [[Flash and Circle|lightning symbol]] of the [[British Union of Fascists]],<ref>{{cite book | chapter-url=https://books.google.com/books?id=X_CXXIpfFbgC&q=throbbing+gristle+British+Union+of+Fascists&pg=PA80 | title=Exploring the Networked Worlds of Popular Music | author=Webb, Peter | chapter=Neo-Folk or Postindustrial Music | page=80 | publisher=Psychology Press | year=2007 | access-date=January 30, 2011 | isbn=978-0-415-95658-1}}</ref> while the Industrial Records logo was a photo of [[Auschwitz]].<ref>{{cite book | chapter-url=https://books.google.com/books?id=ZHP-r9-eqdAC&q=throbbing+gristle+logo&pg=PA780 | title=Alternative Rock | author=Thompson, Dave | chapter=Industrial Records | page=780 | publisher=Hal Leonard Corporation | year=2000 | access-date=January 30, 2011 | isbn=978-0-87930-607-6}}</ref>

[[File:FrontLineAssembly.jpg|thumb|right|190px|Electro-industrial group [[Front Line Assembly]]]]

===Expansion and offshoots (late 1980s and early 1990s)===
{{See also| List of industrial music genres}}
As some of the originating bands drifted away from the genre in the 1980s, industrial music expanded to include bands influenced by [[new wave music]], [[hip hop music]], [[jazz]], [[disco]], [[reggae]], and [[new age music]], sometimes incorporating pop music songwriting.<ref>{{cite magazine|url=https://books.google.com/books?id=3_7wN22l43MC&pg=PT42|title=Industrial Index|last=Woods|first=Karen|magazine=[[Spin (magazine)|Spin]]|date=March 1992|volume=7|issue=12|page=43}}</ref>  A number of additional styles developed from the already eclectic base of industrial music. These offshoots include fusions with noise music, [[ambient music]], [[folk music]], [[post-punk]] and [[electronic dance music]], as well as other mutations and developments. The scene has spread worldwide, and is particularly well represented in North America, Europe, and Japan. Substyles inspired by industrial music include [[dark ambient]], [[Power electronics (music)|power electronics]], [[Japanoise]], [[neofolk]], [[electro-industrial]], [[electronic body music]], [[industrial hip hop]], [[industrial rock]], [[industrial metal]], [[industrial pop]], [[martial industrial]], [[power noise]], and [[Witch house (music genre)|witch house]].

===Mainstream success (1990s and 2000s)===
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In the 1990s, industrial music broke into the mainstream. The genre, previously ignored or criticized by music journalists, grew popular with disaffected middle-class youth in suburban and rural areas.  By this time, the genre had become broad enough that journalist [[James Greer (writer)|James Greer]] called it "the kind of meaningless catch-all term that new wave once was".<ref name=spin>{{cite magazine|url=https://books.google.com/books?id=3_7wN22l43MC&pg=PT42|title=Nine Inches of Love|last=Greer|first=Jim|author-link=James Greer (writer)|magazine=[[Spin (magazine)|Spin]]|date=March 1992|volume=7|issue=12|pages=36–43}}</ref> A number of acts associated with industrial music achieved commercial success during this period including [[Nine Inch Nails]], [[Marilyn Manson (band)|Marilyn Manson]], [[Rammstein]] and [[Orgy (band)|Orgy]]. 
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Through the 1990s, Nine Inch Nails and Marilyn Manson had several albums and EPs certified platinum by the [[Recording Industry Association of America|Recording Industry Association of America (RIAA)]], including Nine Inch Nails' ''[[Broken (Nine Inch Nails EP)|Broken]]'' (1992),{{Certification Cite Ref|title=Broken|artist=Nine Inch Nails|region=United States|type=album}} ''[[The Downward Spiral]]'' (1994){{Certification Cite Ref|title=The Downward Spiral|artist=Nine Inch Nails|type=album|region=United States}} and ''[[The Fragile (Nine Inch Nails album)|The Fragile]]'' (1999){{Certification Cite Ref|title=The Fragile|artist=Nine Inch Nails|type=album|region=United States}}, and Marilyn Manson's ''[[Antichrist Superstar]]'' (1996){{Certification Cite Ref|title=Antichrist Superstar|artist=Marilyn Manson|type=album|region=United States}} and ''[[Mechanical Animals]]'' (1998).{{Certification Cite Ref|title=Mechanical Animals|artist=Marilyn Manson|type=album|region=United States}}