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|name=Electronic body music |name=Electronic body music
|bgcolor=silver |bgcolor=silver
|stylistic_origins={{hlist|]|]|]|]|]|]}}
⚫ |other_names=] (US/CAN)
|stylistic_origins={{hlist|]<ref name="Kilpatrick">]. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: ], 2004, {{ISBN|0-312-30696-2}}.</ref>|]<ref name=hillveld/>|]<ref name=hillveld/>|]<ref name=hillveld>Hillegonda C Rietveld (1998) ''This Is Our House: House Music, Cultural Spaces and Technologies'' Aldershot: Ashgate. {{ISBN|978-1-85742-242-9}}</ref>}}
|cultural_origins=Early 1980s, ] and ] |cultural_origins=Early 1980s, ] and ]
|instruments={{hlist|]|]|]|]|]}} |instruments={{hlist|]|]|]|]|]}}
|popularity=Small |popularity=Small
|derivatives= {{hlist|]|]|]|]|]}} |derivatives= {{hlist|]|]|]|]|]}}
|subgenrelist= |subgenrelist=List of electronic music genres
|subgenres= |subgenres=
|fusiongenres= {{hlist|]|]}} |fusiongenres= {{hlist|]|]}}
|regional_scenes= |regional_scenes=
|other_topics= |other_topics=
⚫ *]
*]
*]
}} }}
⚫ '''Electronic body music''' ('''EBM''') is a genre of ]<ref name="sicko">Dan Sicko, ''Techno Rebels: The Renegades of Electronic Funk'', Billboard Books, 1999, p. 142.</ref> that combines elements of ] and ].<ref name="Kaul">Timor Kaul: ''Electronic Body Music''. In: Thomas Hecken, Marcus S. Kleiner: ''Handbook Popculture.'' J.B. Metzler Verlag 2017, {{ISBN|3-476-02677-9}}, page 102, page 104</ref> It developed in the early 1980s in Germany and Belgium<ref name="Kaul" /> and came to prominence in ] at the end of the decade.<ref name="sicko" /> EBM was generally considered a part of the European ] and ] movement and the first style that blended synthesized sounds with an ecstatic style of dancing (e.g. ]).<ref>Renaat Vandepapeliere: ''R & S Records Belgium'', Localizer 1.0, Die Gestalten Verlag 1995, {{ISBN|3-931-12600-5}}</ref>


⚫ '''Electronic body music''' ('''EBM''') is a genre of ]<ref name="sicko">Dan Sicko, ''Techno Rebels: The Renegades of Electronic Funk'', Billboard Books, 1999, p. 142.</ref> that combines elements of ] and ] with elements of ] and ].<ref name="Kaul">Timor Kaul: ''Electronic Body Music''. In: Thomas Hecken, Marcus S. Kleiner: ''Handbook Popculture.'' J.B. Metzler Verlag 2017, {{ISBN|3-476-02677-9}}, page 102, page 104</ref><ref>{{cite web |last=Reynolds |first= Simon|title=Disturbing Sounds to Unruffle the New Age |url=http://reynoldsretro.blogspot.com/2013/07/800x600-normal-0-false-false-false-en.html?m=1 |website=] |date=1991 |accessdate=29 July 2018}}</ref> It developed in the early 1980s in Germany and Belgium<ref name="Kaul" /> and came to prominence in ] at the end of the decade.<ref name="sicko" /> EBM was generally considered a part of the European ] and ] movement and the first style that blended synthesized sounds with an ecstatic style of dancing (e.g. ]).<ref>Renaat Vandepapeliere: ''R & S Records Belgium'', Localizer 1.0, Die Gestalten Verlag 1995, {{ISBN|3-931-12600-5}}</ref>
⚫ In the second half of the 1980s, a youth-cultural scene emerged from EBM<ref>Martin Pesch, Markus Weisbeck: ''History of Techno and House music.'' In: ''Techno Style. Musik, Grafik, Mode und Partykultur der Techno-Bewegung.'' Edition Olms, Hombrechtikon / Zürich 1996, {{ISBN|3-283-00290-8}},p. 11.<br />"1986/87: New bands like Nitzer Ebb, The Klinik and Vomito Negro appear on the scene and gain a large audience of mainly young males."</ref> whose followers describe themselves as EBM-heads or (in North America) as ]s.<ref>Kate Stevens: ''Freak Nation. A Field Guide to 101 of the Most Odd, Extreme, and Outrageous American Subcultures'', Adams Media, 2010, {{ISBN|1-440-50646-9}}, p. 108</ref> EBM is unrelated to ], although in some local scenes both subcultures may share the same music clubs and festivals<ref>Johanna Paulsson: ''DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music'', Bloomsbury Academic, 2013, {{ISBN|1-623-56006-3}}, p. 273</ref> (along with other alternative subcultures such as ] and ]).


⚫ In the second half of the 1980s, a youth-cultural scene emerged from EBM<ref>Martin Pesch, Markus Weisbeck: ''History of Techno and House music.'' In: ''Techno Style. Musik, Grafik, Mode und Partykultur der Techno-Bewegung.'' Edition Olms, Hombrechtikon / Zürich 1996, {{ISBN|3-283-00290-8}},p. 11.<br />"1986/87: New bands like Nitzer Ebb, The Klinik and Vomito Negro appear on the scene and gain a large audience of mainly young males."</ref> whose followers describe themselves as EBM-heads or (in North America) as ]s.<ref>Kate Stevens: ''Freak Nation. A Field Guide to 101 of the Most Odd, Extreme, and Outrageous American Subcultures'', Adams Media, 2010, {{ISBN|1-440-50646-9}}, p. 108</ref> EBM is mostly musicaly unrelated to ], although in some local scenes both subcultures may share the same music clubs and festivals<ref>Johanna Paulsson: ''DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music'', Bloomsbury Academic, 2013, {{ISBN|1-623-56006-3}}, p. 273</ref> (along with other alternative subcultures such as ] and ]).
Original, or original-styled electronic body music is sometimes referred to as '''old-school EBM''' and should not be confused with ] or ].<ref>. Retrieved 15 December 2014.</ref>

⚫ == Origin of the term ==
The term ''electronic body music'' was coined by ] of the ] electronic band ] in 1978 to describe music that you not only can dance to, but using technology you can control the music with your body.<ref name="technopop">(2007-11-25) ''Klein, MJ'' kraftwerk.technopop.com.br (retrieved on 2019-09-29, archived from http://kraftwerk.technopop.com.br/interview_108.php)</ref>

⚫ In 1980/1981, ] from ] used the term "Körpermusik" (''body music'') to describe their danceable electronic punk sound.<ref>{{cite web|url=https://www.youtube.com/watch?v=y5oal1M26xQ|title=YouTube|website=www.youtube.com|accessdate=5 July 2017}}</ref><ref>{{Allmusic|class=artist|id=mn0000147282/biography|pure_url=|last=Uncle Dave Lewis|label=D.A.F. bio|accessdate= October 7, 2008}}</ref> The term was later used by ] band ] in 1985 to describe the music of their EP of that year called '']''.<ref name="iafrica">(2004-06-20) ''Monsoon, Jon'' iAfrica.com (retrieved on 2007-08-03)</ref><ref name="rideout">Ernie Rideout, interview with Front 242, ''Keyboard Presents the Best of the '80s'', Backbeat, 2008, p. 57.</ref>


==Characteristics== ==Characteristics==
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From its inception, the style has been characterized by relentless, programmed electronic beats, repetitive bass lines, and sequenced instrumentation.<ref>{{cite book |last1=Horn|first1=David |title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11 |date=2017 |publisher=Bloomsbury |url=https://books.google.com/books?id=WKc0DwAAQBAJ&printsec=frontcover&dq=inauthor:%22David+Horn%22&hl=en&sa=X&ved=0ahUKEwiUqPO--JPiAhUxSN8KHXQIDTIQ6AEIOzAE}}</ref> Typical EBM rhythms alternate between the 4/4 beats of ] and more abrasive ]-inspired backbeats.<ref>{{cite book |last1=Horn |first1=David |title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11 |date=2017 |publisher=Bloomsbury |url=https://books.google.com/books?id=WKc0DwAAQBAJ&printsec=frontcover&dq=inauthor:%22David+Horn%22&hl=en&sa=X&ved=0ahUKEwiUqPO--JPiAhUxSN8KHXQIDTIQ6AEIOzAE}}</ref>
From its inception, the style has been characterized by hard danceable electronic beats, clear undistorted or slightly electronically distorted vocals, shouts or ] with reverberation and echo effects, and repetitive bass sequencer lines. At the time the genre arose, important synthesizers were the ], ], ] and ].


The EBM sound was derived from a combination of ] sources, including: the ] of ] and ]; the synthesizer-based tracks of ] and ]; the work of ] and ]; and the ] dance sound pioneered by ].<ref>{{cite book |last1=Horn|first1=David |title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11 |date=2017 |publisher=Bloomsbury |url=https://books.google.com/books?id=WKc0DwAAQBAJ&printsec=frontcover&dq=inauthor:%22David+Horn%22&hl=en&sa=X&ved=0ahUKEwiUqPO--JPiAhUxSN8KHXQIDTIQ6AEIOzAE}}</ref> Daniel Bressanutti of ], who helped coin the term EBM to describe their music, named the synthesizer music of ] and ] as additional influences along Kraftwerk, Throbbing Gristle's ], the "extended rhythmic disco of Moroder," and the ].<ref>{{cite web |last1=B |first1=Daniel |title=A Beginner's Guide to EBM |url=https://www.factmag.com/2012/05/24/a-beginners-guide-to-ebm/amp/ |website=FACT |accessdate=11 May 2019}}</ref>
Typical EBM rhythms are based on 4/4 beats, mainly with some minor ] to suggest a ] rhythm structure.


Samples, e.g. metal rod, machine and alert sounds, are often used to create a "factory ambiance". Other samples include political speeches and excerpts from science fiction movies. At the time the genre arose, important synthesizers were the ], ], ] and ]. Samples, e.g. metal rod, machine and alert sounds, are often used to create a "factory ambiance". Other samples include political speeches and excerpts from science fiction movies.


==History== ==History==
⚫ === Origin of the term ===
The term ''electronic body music'' was coined by ] of the ] electronic band ] in November 1977<ref>http://www.djfood.org/kraftwerk-and-the-cold-wave-in-sounds-26-11-77/</ref>, and later again in 1978 to explain the more physical sound of their album '']''.<ref name="technopop">(2007-11-25) ''Klein, MJ'' kraftwerk.technopop.com.br (retrieved on 2008-01-28)</ref> "Body music" had been used in 1972 by ] to describe the amplified beat and ] component of hard rock bands such as ], ], ], and ]: "Bands like Led Zep... make body music of an oddly cerebral cast, arousing aggression rather than sexuality."<ref>{{cite news|last=Christgau|first=Robert|date=December 1972|url=https://www.robertchristgau.com/xg/bk-aow/mott.php|title=Growing Up Grim With Mott the Hoople|newspaper=]|accessdate=September 10, 2018}}</ref>


⚫ In 1980/1981, ] from ] used the term "Körpermusik" (''body music'') to describe their danceable electronic punk sound.<ref>{{cite web|url=https://www.youtube.com/watch?v=y5oal1M26xQ|title=YouTube|website=www.youtube.com|accessdate=5 July 2017}}</ref><ref>{{Allmusic|class=artist|id=mn0000147282/biography|pure_url=|last=Uncle Dave Lewis|label=D.A.F. bio|accessdate= October 7, 2008}}</ref> The term was later used by ] band ] in 1984<ref>https://www.discogs.com/Front-242-No-Comment/release/102862</ref> to describe the music of their EP of that year called '']'',<ref name="iafrica">(2004-06-20) ''Monsoon, Jon'' {{Webarchive|url=https://web.archive.org/web/20040721082853/http://entertainment.iafrica.com/music/profiles/330563.htm |date=2004-07-21 }} iAfrica.com (retrieved on 2007-08-03)</ref><ref name="rideout">Ernie Rideout, interview with Front 242, ''Keyboard Presents the Best of the '80s'', Backbeat, 2008, p. 57.</ref> using it alongside their preferred description "Electro Disco Terrorist Music."<ref>{{cite web |last1=Clouston |first1=Richard |title=The 20 Best Industrial & EBM Records Ever Made |url=http://www.factmag.com/2014/11/27/20-best-ebm-industrial/ |website=] |accessdate=25 August 2018}}</ref>
⚫ ===1981–1987===
⚫ Emerging in the early 1980s, the genre draws heavily on the music of bands such as ], ], ], ],<ref>Release Magazine: </ref> ], ], and the danceable ] of ]. Archetypes of the genre are tracks '']'' and '']'' by Deutsch Amerikanische Freundschaft, '']'' and '']'' by Die Krupps, ''Etre assis ou danser'' and ''El Macho y la Nena'' by Liaisons Dangereuses, and '']'' and '']'' by ].


⚫ ===1981–1987===
⚫ Front 242 characterized their approach as somewhere between ] and Kraftwerk.<ref name="rideout" /> ] and ], both influenced by DAF<ref>{{Allmusic|class=album|id=mw0000201484|first=Ned|last=Raggett|label=That Total Age review|accessdate=October 7, 2008}}</ref> and ], followed soon after. Groups from this era often applied ] aesthetics, with ironic intent.<ref>{{Allmusic|class=album|id=mw0000311203|first=Ned|last=Raggett|label=Die Kleinen und die Bösen review|accessdate=October 7, 2008}}</ref> Other prominent artists include Vomito Negro, ], ],<ref>{{Allmusic|class=artist|id=mn0000399998|last=Huey|first=Steve|label=Neon Judgement: Biography|accessdate=May 19, 2010}}</ref> ],<ref>{{Allmusic|class=artist|last=Huey|first=Steve|id=mn0000921561/biography|label=à;GRUMH: Biography|accessdate=May 19, 2010}}</ref> ],<ref>{{Allmusic|class=artist|id=mn0000569418|last=Huey|first=Steve|label=A Split Second: Biography|accessdate=May 19, 2010}}</ref> and The Invincible Spirit.<ref>. Retrieved 15 December 2014.</ref>
⚫ Emerging in the early 1980s, the genre draws heavily on the music of bands such as ], ], ], ],<ref>Release Magazine: </ref> ], ], and the danceable ] of ]. Archetypes of the genre are tracks ''Verschwende Deine Jugend'' and '']'' by Deutsch Amerikanische Freundschaft, ''Wahre Arbeit, Wahrer Lohn'' and '']'' by Die Krupps, ''Etre assis ou danser'' and ''El Macho y la Nena'' by Liaisons Dangereuses, and '']'' and '']'' by ].


⚫ Front 242 characterized their approach as somewhere between Throbbing Gristle and Kraftwerk.<ref name="rideout" /> ] and ], both influenced by DAF<ref>{{Allmusic|class=album|id=mw0000201484|first=Ned|last=Raggett|label=That Total Age review|accessdate=October 7, 2008}}</ref> and ], followed soon after. Groups from this era often applied ] aesthetics, with ironic intent.<ref>{{Allmusic|class=album|id=mw0000311203|first=Ned|last=Raggett|label=Die Kleinen und die Bösen review|accessdate=October 7, 2008}}</ref> Other prominent artists include Vomito Negro, ], ],<ref>{{Allmusic|class=artist|id=mn0000399998|last=Huey|first=Steve|label=Neon Judgement: Biography|accessdate=May 19, 2010}}</ref> ],<ref>{{Allmusic|class=artist|last=Huey|first=Steve|id=mn0000921561/biography|label=à;GRUMH: Biography|accessdate=May 19, 2010}}</ref> ],<ref>{{Allmusic|class=artist|id=mn0000569418|last=Huey|first=Steve|label=A Split Second: Biography|accessdate=May 19, 2010}}</ref> and The Invincible Spirit.<ref>. Retrieved 15 December 2014.</ref>
Sometimes, ] is indicated as an influence on EBM,<ref>{{cite web |last=Reynolds |first= Simon|title=Disturbing Sounds to Unruffle the New Age |url=http://reynoldsretro.blogspot.com/2013/07/800x600-normal-0-false-false-false-en.html?m=1 |website=] |date=1991 |accessdate=29 July 2018}}</ref> although Patrick Codenys of Front 242 called it "nonsense" and a "misapprehension" and stated that EBM had nothing to do with disco music.<ref>{{cite book|title=Techno|publisher=Gustav-Lübbe-Verlag|author=Falko Blask|year=1995|page=35|isbn=3-404-60416-4}}</ref><ref>{{cite book|title=Free Tekno|publisher=LIT Verlag|author=Christiana Breinl|year=2012|page=22|isbn=978-3643503763}}</ref> According to Codenys, EBM was "a reaction to the fact that people say »electronic music is just for faggots behind keyboards«... EBM takes exactly the opposite angle and says: »Listen, this can be as fast and physical as you guitar guys.«"<ref name=Reed>{{cite book|url=https://books.google.com/books?id=J-B_8wFmPg8C&pg=PA162 |title=Assimilate: A Critical History of Industrial Music|publisher=Oxford University Press|author=Reed, S. Alexander|year=2013|page=155|isbn=978-0199832606}}</ref>


===1988–1993=== ===1988–1993===
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===Revival=== ===Revival===
In the late 1990s and after the millennium, Belgian, Swedish and German groups such as ], ], and ]<ref>Vorndran, Daniela: , ''Reflections of Darkness: A Dark Music webzine'', March 6, 2006.</ref> had reactivated the style. In the same time period, a number of artists from the European techno scene started including more elements of EBM in their sound. This tendency grew in parallel with the emerging ] scene and, as that scene started to decline, a number of artists associated with it, such as ], ], ],<ref>{{cite web|last=Theakston |first=Rob |url={{Allmusic|class=album|id=r617464|pure_url=yes}} |title=Electronicbody-Housemusic > Overview|publisher=allmusic |date=2002-11-26 |accessdate=2010-05-19}}</ref> ], and ],<ref>{{cite web|last=Kellman |first=Andy |url={{Allmusic|class=album|id=r692810|pure_url=yes}}|title=Chemical Sweet Girl > Overview|publisher=allmusic |date=2004-06-01 |accessdate=2010-05-19}}</ref> moved towards this techno/EBM crossover style. There has been increasing convergence between this scene and the old school EBM scene. Bands and artists have remixed each other. Most notably, Terence Fixmer joined with Nitzer Ebb's Douglas McCarthy to form ].<ref>{{cite web|url=http://www.gothtronic.com/?page=23&reviews=4963 |title=Music &#124; CD Reviews |publisher=Gothtronic |date= |accessdate=2010-05-19}}</ref> In the late 1990s and after the millennium, Belgian, Swedish and German groups such as ], ], and ]<ref>Vorndran, Daniela: , ''Reflections of Darkness: A Dark Music webzine'', March 6, 2006.</ref> had reactivated the style. In the same time period, a number of artists from the European techno scene started including more elements of EBM in their sound. This tendency grew in parallel with the emerging ] scene and, as that scene started to decline, a number of artists associated with it, such as ], ],<ref>{{cite web|last=Theakston |first=Rob |url={{Allmusic|class=album|id=r617464|pure_url=yes}} |title=Electronicbody-Housemusic > Overview|publisher=allmusic |date=2002-11-26 |accessdate=2010-05-19}}</ref> ], and ],<ref>{{cite web|last=Kellman |first=Andy |url={{Allmusic|class=album|id=r692810|pure_url=yes}}|title=Chemical Sweet Girl > Overview|publisher=allmusic |date=2004-06-01 |accessdate=2010-05-19}}</ref> moved towards this techno/EBM crossover style. There has been increasing convergence between this scene and the old school EBM scene. Bands and artists have remixed each other. Most notably, Terence Fixmer joined with Nitzer Ebb's Douglas McCarthy to form ].<ref>{{cite web|url=http://www.gothtronic.com/?page=23&reviews=4963 |title=Music &#124; CD Reviews |publisher=Gothtronic |date= |accessdate=2010-05-19}}</ref>


== Derivatives and alternative terms == == Derivatives and alternative terms ==
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==External links== ==External links==
* Fact magazine article. * Fact magazine article.
* *


{{Industrial music-footer}} {{Industrial music-footer}}
{{Goth subculture}}


{{DEFAULTSORT:Electronic Body Music}} {{DEFAULTSORT:Electronic Body Music}}

Revision as of 04:39, 16 February 2020

Electronic body music
Stylistic origins
Cultural originsEarly 1980s, Germany and Belgium
Typical instruments
Derivative forms

(complete list)
Fusion genres
Other topics

Electronic body music (EBM) is a genre of electronic music that combines elements of industrial music and synth-punk with elements of disco and dance music. It developed in the early 1980s in Germany and Belgium and came to prominence in Belgium at the end of the decade. EBM was generally considered a part of the European new wave and post-punk movement and the first style that blended synthesized sounds with an ecstatic style of dancing (e.g. pogo).

In the second half of the 1980s, a youth-cultural scene emerged from EBM whose followers describe themselves as EBM-heads or (in North America) as rivetheads. EBM is mostly musicaly unrelated to Goth, although in some local scenes both subcultures may share the same music clubs and festivals (along with other alternative subcultures such as punk and psychobilly).

Characteristics

From its inception, the style has been characterized by relentless, programmed electronic beats, repetitive bass lines, and sequenced instrumentation. Typical EBM rhythms alternate between the 4/4 beats of disco and more abrasive rock-inspired backbeats.

The EBM sound was derived from a combination of post-punk sources, including: the industrial music of Cabaret Voltaire and Throbbing Gristle; the synthesizer-based tracks of New Order and Killing Joke; the work of DAF and Kraftwerk; and the Eurodisco dance sound pioneered by Giorgio Moroder. Daniel Bressanutti of Front 242, who helped coin the term EBM to describe their music, named the synthesizer music of Tangerine Dream and Klaus Schulze as additional influences along Kraftwerk, Throbbing Gristle's Chris Carter, the "extended rhythmic disco of Moroder," and the punk scene.

At the time the genre arose, important synthesizers were the Korg MS-20, Emulator II, Oberheim Matrix and Yamaha DX7. Samples, e.g. metal rod, machine and alert sounds, are often used to create a "factory ambiance". Other samples include political speeches and excerpts from science fiction movies.

History

Origin of the term

The term electronic body music was coined by Ralf Hütter of the German electronic band Kraftwerk in November 1977, and later again in 1978 to explain the more physical sound of their album The Man-Machine. "Body music" had been used in 1972 by Robert Christgau to describe the amplified beat and art rock component of hard rock bands such as Led Zeppelin, Mott the Hoople, Black Sabbath, and Slade: "Bands like Led Zep... make body music of an oddly cerebral cast, arousing aggression rather than sexuality."

In 1980/1981, DAF from Germany used the term "Körpermusik" (body music) to describe their danceable electronic punk sound. The term was later used by Belgian band Front 242 in 1984 to describe the music of their EP of that year called No Comment, using it alongside their preferred description "Electro Disco Terrorist Music."

1981–1987

Emerging in the early 1980s, the genre draws heavily on the music of bands such as Throbbing Gristle, Cabaret Voltaire, DAF, Die Krupps, Liaisons Dangereuses, Portion Control, and the danceable electropop of Kraftwerk. Archetypes of the genre are tracks Verschwende Deine Jugend and Der Mussolini by Deutsch Amerikanische Freundschaft, Wahre Arbeit, Wahrer Lohn and Für einen Augenblick by Die Krupps, Etre assis ou danser and El Macho y la Nena by Liaisons Dangereuses, and Body to Body and U-Men by Front 242.

Front 242 characterized their approach as somewhere between Throbbing Gristle and Kraftwerk. Nitzer Ebb and Skinny Puppy, both influenced by DAF and Cabaret Voltaire, followed soon after. Groups from this era often applied socialist realist aesthetics, with ironic intent. Other prominent artists include Vomito Negro, Borghesia, The Neon Judgement, à;GRUMH..., A Split-Second, and The Invincible Spirit.

1988–1993

In the second half of the 1980s, the genre became popular in Canada (Front Line Assembly) and the U.S. (Ministry, Revolting Cocks, Schnitt Acht) as well as in Sweden (Inside Treatment, Pouppée Fabrikk, Cat Rapes Dog) and Japan (2nd Communication, DRP). North American bands started to use typical European EBM elements and combined them with the roughness of (hardcore) punk and thrash metal (cf. industrial metal). Nine Inch Nails continued the cross-pollination between EBM and rock music resulting in the album Pretty Hate Machine (1989).

Meanwhile, EBM became popular in the underground club scene, particularly in Europe. In this period the most important labels were the Belgian Play It Again Sam and Antler-Subway, the German Zoth Ommog, the North American Wax Trax! and the Swedish Energy Rekords. At the time, significant artists included And One, Armageddon Dildos, Bigod 20, Insekt, Scapa Flow, Orange Sector, Attrition, and Oil In The Eye.

Between the early and the mid-1990s, many EBM artists split up, or changed their musical style, borrowing more distorted "industrial" elements or elements of rock or metal. The album Tyranny For You by EBM pioneers Front 242 initiated the end of the EBM epoch of the 1980s. Nitzer Ebb, one of the most important artists, became an alternative rock band. Without the strength of its figureheads, the original electronic body music faded by the mid-1990s.

Revival

In the late 1990s and after the millennium, Belgian, Swedish and German groups such as Ionic Vision, Tyske Ludder, and Spetsnaz had reactivated the style. In the same time period, a number of artists from the European techno scene started including more elements of EBM in their sound. This tendency grew in parallel with the emerging electroclash scene and, as that scene started to decline, a number of artists associated with it, such as The Hacker, DJ Hell, Green Velvet, and Black Strobe, moved towards this techno/EBM crossover style. There has been increasing convergence between this scene and the old school EBM scene. Bands and artists have remixed each other. Most notably, Terence Fixmer joined with Nitzer Ebb's Douglas McCarthy to form Fixmer/McCarthy.

Derivatives and alternative terms

Electro-industrial

Main article: Electro-industrial

Electro-industrial is an outgrowth of the EBM and industrial music that developed in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep, complex and layered sound, incorporating elements of ambient industrial. The style was pioneered by Skinny Puppy, Front 242 and Front Line Assembly. In the early '90s, the style spawned the dark electro genre, and in the end of the decade a strongly techno- and hard-trance-inspired style called "hellektro" or "aggrotech".

Industrial dance

Main article: Industrial dance

Industrial dance is a North American alternative term for electronic body music and electro-industrial music. Fans associated with this music scene call themselves rivetheads.

See also

References

  1. ^ Dan Sicko, Techno Rebels: The Renegades of Electronic Funk, Billboard Books, 1999, p. 142.
  2. ^ Timor Kaul: Electronic Body Music. In: Thomas Hecken, Marcus S. Kleiner: Handbook Popculture. J.B. Metzler Verlag 2017, ISBN 3-476-02677-9, page 102, page 104
  3. Reynolds, Simon (1991). "Disturbing Sounds to Unruffle the New Age". The New York Times. Retrieved 29 July 2018.
  4. Renaat Vandepapeliere: R & S Records Belgium, Localizer 1.0, Die Gestalten Verlag 1995, ISBN 3-931-12600-5
  5. Martin Pesch, Markus Weisbeck: History of Techno and House music. In: Techno Style. Musik, Grafik, Mode und Partykultur der Techno-Bewegung. Edition Olms, Hombrechtikon / Zürich 1996, ISBN 3-283-00290-8,p. 11.
    "1986/87: New bands like Nitzer Ebb, The Klinik and Vomito Negro appear on the scene and gain a large audience of mainly young males."
  6. Kate Stevens: Freak Nation. A Field Guide to 101 of the Most Odd, Extreme, and Outrageous American Subcultures, Adams Media, 2010, ISBN 1-440-50646-9, p. 108
  7. Johanna Paulsson: DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music, Bloomsbury Academic, 2013, ISBN 1-623-56006-3, p. 273
  8. Horn, David (2017). Bloomsbury Encyclopedia of Popular Music of the World, Volume 11. Bloomsbury.
  9. Horn, David (2017). Bloomsbury Encyclopedia of Popular Music of the World, Volume 11. Bloomsbury.
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