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Last Modified: November 22, 1999
C O N T E N T S
1. Overview
1. What is rec.music.industrial?
2. What is the rec.music.industrial FAQ?
3. Who, What, When, Why, Where?
4. Terminology used on rec.music.industrial
5. Terminology Used in this document
6. Common References
2. General Questions About Industrial
1. What is Industrial ?
2. More opinions on what is Industrial Music ?
3. What are the differences between Industrial & Post-Industrial ?
4. Who came up with the name 'Industrial Music' ?
5. What are the sub-genres of Industrial Music ?
6. How does Industrial related to other types of Music ?
7. What is the History of Industrial Music (timeline) ?
8. More opinions on the History of Industrial Music ?
3. Questions about Industrial Culture
1. Is there an Industrial Culture ?
2. Is Industrial Fascist ?
3. Is Industrial anti-religous ?
4. Why is there a fascination with Serial Killers ?
5. Are There Any 'Good Causes' Promoted by Industrialist ?
6. Did Industrial Music cause the Columbine high school shootings ?
4. Artist Related Questions
1. Where can a band's FAQ be found ?
2. Where can a band's discography be found ?
3. How are these bands related ?
4. What does the name mean ? How did they come up with it ?
5. Which bands have broken up ? Why ?
6. Which Industrialist have died ? How ?
5. Label Related Questions
1. What are some labels specializing in Industrial Music ?
2. Which Industrial labels are defunct ? And Why ?
6. Recording Related Questions
1. What are the essential Industrial recordings ?
7. Misc. Questions
1. What is the significence of the number 23 ?
2. Is Industrial Dead ?
8. Resources
1. What are some major Industrial Music WWW sites ?
2. What other newsgroups cover similar ground?
3. What are some mailing lists related to Industrial?
4. What zines cover industrial?
5. What are some mailorder sources for Industrial?
--------------------------------------------------
--------------------------------------------------
Section 1. Overview
--------------------------------------------------
1. What is rec.music.industrial?
rec.music.industrial is an unmoderated
newsgroup which passed its vote for creation by 411:80 as reported
in news.announce.newgroups on 23 May 1991. The charter for the group
is as follows: For your newsgroups file:
rec.music.industrial Discussion of all industrial-related music styles.
The charter, culled from the call for votes:
Rec.music.industrial is for the discussion of all industrial-related
music styles, including traditional industrial (i.e. Einstuerzende
Neubauten, Throbbing Gristle, Cabaret Voltaire , etc.), dance-industrial
('cyberpunk' i.e. Ministry, Skinny Puppy, Front 242, Foetus, etc.)
and hard techno music (i.e. Kraftwerk, etc.). Reviews of new releases,
related news items, concert information, and other types of discussion
are encouraged.
also see www.synthetic.org/rmi, network54.com/Hide/Forum/12708
2. What is the rec.music.industrial FAQ?
'In the gap caused by the failure of punk rock's apocalyptic rhetoric,
[the term] 'industrial' seemed like a good idea.' --Jon Savage,
London 1983
Experimental. Aggro. Techno. Cutups. Alternative. Noise. Ambient.
Musique Concrete. Sound Collages. Avant Garde. Performance Art. Difficult.
Improv. Industrial?
So many names and so many labels. It gets confusing when from all
around us, publications continue to spew out more complex and different
names in an attempt to pinpoint a source, while at the same time converging
on one obvious thought: industrial. To demonstrate this idea, we could
even trace these origins of industrial back to dadaism if we wanted
to. This FAQ file is less an attempt to force people into their place
and more to widen the flow of information. Sharing the precious information
allows us to experience more in our learning than by strange militaristic
actions.
3. Who, What, When, Why, Where?
This FAQ is a continuation of the efforts started by Dan Kletter,
DARRELL FUHRIMAN and ERIK HENRIKSEN. The FAQ drifted
off into suspended animation around 1995 and was resurected in August
of 1999 by moron from industrial.org.
Other prior contributors include: Al Crawford, Mason Jones, Jeff Dauber,
David Vessell, Dave Stein, Greg Earle , Adam Weitzman, Rob Vaughn,
Seth Robson , Joshua Buerge, Uncle Klaus, Dave Datta , Valerie Ohm,
Andrew Russ, Adrian Le Hanne , Leo Breebaart, Ben Cox, Terry Reed ,
Mark Gunderson, John Davison, Kritt Gierlefzen , Georg Wallmann, hortonee,
Jutta Degener , Xorcist, Paul Moore, Anders Holmberg , Franck Arnaud,
@Man, Bob Haskins , Piotr T. Prussak, Jennifer Davis, Jester , Michael
Lucas, Pete Ashdown, Peter Cigehn , Kevin, white law, Michael Gendreau.
4. Terminology used on rec.music.industrial
how to speak rec.music.industrial
gothic: anything dark in nature. Posters use this
term with no regard to whether or not there are any conections with
goth culture.
old-school: used to refer to so many different periods
in Industrial that the term is meanless.
ov: 'of'. Popularized by Genesis P-Orridge of (ov)
Psychic TV.
rivethead: a fan of industrial. Popularized by Chase
of Re-Constriction Records (Rivethead Culture compilation).
thee: 'the'. Popularized by Genesis P-Orridge of
Psychic TV.
5. Terminology Used in this document
notes on terminology used:
(post-) industrial: Most Industrial fans in-the-know
consider Industrial Music & Culture to be limited to
artists working for (and with) the Industrial Records label
(UK). Industrial is considered to have ended when IR
ended in the early 80's. The influence of Industrial of course
did not end then, but many of the original ideas had fallen to the
wayside. Post-Industrial is the term that was introduced to
distingush this new Industrial from the original. A source of
confusion is that the vast majority of discussions on Post-Industrial
(this document included) use the term Industrial and expect
the reader to understand Post-Industrial is what is really ment.
electronic music: almost all music use electronic equipment
in some form. Even acoustic music put on tape uses electronics. So
when this document uses the term electronic music it means:
the sounds are either
a noticeably deficient approximation to 'natural' sounds
dissimular to any 'natural' sound.
where 'natural' sound referes to the sounds that can be generated without
the use of electronic equipment (vibrating strings, air through tubes,
hammer striking metal, etc.). When electronic equipment & instruments
are used to produce sounds that well approximate 'natural' ones, the
music would not be considered 'electronic' under this definition.
popular music: not to be equated with 'pop' (commerial
or mainstream) music. The term is used to encompass rock, dance, etc.
in their most general sense. Basically all non-jazz 'modern' music
(as oppossed to 'classical').
sample: In comerical music (esp. rap) a sample is a segment
of music taken from a recognizable source and placed in a 'new' work. In
Industrial the general technical definition is used: a segment of audio
(usually sort in duration). The source does not have to be either
recognizable or musical. As a matter of fact the most often used samples
in Industrial are 'sound bites' of dialogue take from (usually obscure)
movies, TV, etc.
see phobos.astro.uwo.ca/~etittley/top_samples/samples.html and www.icomm.ca/macos
6. Common References
Here is a list of sources that are sited more than once. Please refer
back to this when reading this document.
[?] uncomfirmed, rumor, speculation
[RMIFAQ95] rec.music.industrial FAQ (1995 version), assume uncomfirmed
[RMI author date] a post on rec.music.industrial.
[CROWLEYLIES] Book of Lies by Aliester Crowley (Samual Weiser,
Inc. 1981 edition of The with editoral commentary)
[HWOBN] The Heathen World - Origin of Band Names
www.heathenworld.com/bandname/index.html,
assume uncomfirmed
[ICH] REsearch #6/7:Industrial Culture Handbook. (ISBN 0-940642-07-7)
[IREV2] Industrial Revolution 2nd edition, edited by Dave Thompson,
assume unconfirmed
[TAPEDELAY] Tape Delay, edited by Charles Neal. SAF Publishing
Ltd. (ISBN 0 946719 02 0)
[TROUSER4] Trouser Press Record Guide 4th edition, edited by
Ira A. Robbbins
[TROUSER5] Trouser Press Record Guide to 90's Rock 5th edition,
edited by Ira A. Robbbins
[WSB/TG/BG] REsearch #4/5: Burroughs/TG/Brion Gysin (ISBN 0-940642-05-0)
[WOC] Wreckers of Civilisation: The Story of Coum Transmissions
& Throbbing Gristle, by Simon Ford
also see artist FAQ in the Artist Related Questions section.
--------------------------------------------------
Section 2. General Questions About Industrial
--------------------------------------------------
7. What is Industrial ?
NB: In this section we will only consider what is Industrial
Music. For thoughts on Industrial Culture see the section
devoted to it
There no simple explaination for Industrial Music because there
are many different types of music that are refered to as Industrial (see
the question on sub-genres for some examples). Below are some of the
various criteria used to identify music as Industrial.
machine sounds (aesthetic).
When we finished first record, we wend outside and suddenly heard
trains going past and little workshops under the railway arches and
the lathes going and electric saws and we suddenly thought, "we haven't
actually created anything, we've just taken it in subconsciously and
re-created it".
[Genesis P-Orridge, of Throbbing Gristle]
This is the most naive description but it's also one given by a
good portion of Industrial Music fans. It should be noted that the
majority of artists called 'Industrial' have very few to no mechanical
elements in their music, even Throbbing Gristle had some songs
that weren't very mechanical sounding. association
with the Industrial Records label (pedigree).
Industrial Music stopped when Throbbing Gristle and Industrial
Records packed up. And there's nothing truely industrial since then.
There aren't any true Industrial bands.
[Chris Carter, of Throbbing Gristle]
Some elitists claim this is the only criteria for Industrial Music. With
the diveristy of the artists covered Throbbing Gristle, Cabaret Voltaire,
SPK, Clock DVA, Monte Cazazza, Leather Nun, Leer
& Rental, NON, Z'ev, etc., an 'Industrial' aesthetic
can't be well defined. It should be noted there were a lot of bands
with no connection to Industrial Records doing similar things
at the same time or earlier than the IR crowd. Some names include
Suicide, Kluster, Kraftwerk, Joy Division,
Pere Ubu, PiL, MB, Nurse With Wound,
Einstuerzende Neubauten, and Laibach. electronic
elements (aesthetic).
The use of electronic elements has become a staple of Industrial Music.
Some of the inovations* include vocal distortions, using electronic
instruments to create harsh sounds, use of sound bites (dialogue from
movies, TV, etc.), samples of non-musical sounds, and use of musical
samples in very creative ways (ex. loops).
In the early days of Industrial electronic music was still in the
experimental stage but has quickly become common place in popular music.
Many of the inovations listed above can now be heard on Techno, Electronica,
Hip-Hop, and even Pop recordings. Electronic elements are not an absolute
requirement for being industrial as Z'ev, early Einstuerzende
Neubauten and Test Dept. demonstrate.
* = almost all of these were invented outside of Industrial Music.
'Inovation' referes to their application by Industrialist.
more than just dance music (aesthetic).
Perhaphs because if its parallel development to Techno (which is more
recognized by the masses than Industrial), Industrial is usually considered
a type of dance music. At least this is true to most naive ears if
not the feet as the slogan 'Industrial is dance music that you can't
dance to' illustrates. Of course there are styles of Industrial that
you can dance to (ex. EBM) but there are always more elements
(those listed on this page) to the music as prominate as the dance
elements. (See the question on how Industrial relates to other types
of music for further discussion).
Obviously there are styles of Experimental Industrial that don't
have any elements of dance music. extreme hard rock
(aesthetic).
...always admired the way that bands like Skinny Puppy
and Ministry mixed guitar rock with electronic music, making
electronic music that is more agressive than the hardest music around
at that time.
[Trent Reznor of Nine Inch Nails, paraphrased]
Obviously there are styles of Experimental Industrial that don't
have any elements of rock music. experimentation
(philosophic).
Every style of Industrial Music uses experimentation to some degree.
As Die Warzau put it Industrial is taking any style of music
and "basterdizing" it [Industrial Nation #3].
For some this is the key element of Industrial Music (and what seperated
it from Post-Industrial). A few would even go so far as to claim all
later 20th century experimental music is Industrial. Unfortunety a
lot of Industrialist just borrow the sounds from the real experments
instead of trying anything new for themselves.
{see section on 'Industrial vs. Post-Industrial' for further disscussion}
anti-music (philosophic/aesthetic).
Music is ment to be entertaining and Anti-Music seeks the exact oposite.
It is often achived by incorporating non-musical elements into the
music. This was the modis operenti of L. Russolo, E. Varese,
Pierre Schaeffer, and John Cage all of which were big
influneces on Industrial. Erik Satie and Cage took another
approach by making 'silent' compositions (furniture music &
4'33" respectively). In the hands of Industrialist Anti-Music
became very harsh (NON, SPK, and selected Throbbing Gristle,
Whitehouse). Noise artists (ex. Merzbow) took Anti-Music
to it's logical extreme with works approaching white noise.
One Girl told me it induced an acid flashback in her... Another
girl reported it jarred one of her fillings loose, giving her a toothache.
Some people find it torturous...
[Boyd Rice of NON in ICH]
Needless to say a lot of Industrial is entertaining. An important
observation about Anti-Music is made by B. Rice in the continuation of
the above quote
some people find it extremely soothing and relaxing. Some people
find it painful but take it anyway - at the end of one Deaf Club show
some girls spontaneosly started yelling in unison, "More pain! More
pain!"
As people become accustomed to non-musical elements they become
accepted as music. Ultimately Anti-Music is a self defeating concept.
popular medium (philosophic).
'The larger target': the mass media and, in partcular, popular
culture. Being a child of the radical Sixties, I was - and still am
- an idealist about wanting to liberate young minds from feeling that
they are not able to achive and express everything they feel inside.
In other words, countermanding the orders of society. So that led to
either choosing television or popular music. Popular music seemed the
best medium for us to work with, because it was the most accessible
to the most rebellious and innately radical young people.
[Genesis P-Orridge, of Throbbing Gristle]
This does not mean that Industrial is a type of Pop Music. Merely Industrial
adopts the 'langauge' of popular culture as its means of expression.
As a result it is accessible to people without any training in art
or experimental music. This is what sets most experimental-industrial
apart from experimental (ex. Negativland compared to Xenakis).
At the very least Industrial is a reaction to popular (and 'alternative')
culture.
There are few artists who are sometimes considered experimental-industrialist
that operate totally removed from popular culture.
{please see history section for further discussion}
modernization (philosophic/theme).
...up till then music had been kind of based on blues and slavery,
and we thought it was time to update it to at least Victorian times
- you know, the Industrial Revolution.
Rock'n'roll had been somewhere away in the sugarcane fields of the
West Indies and the cottonfields of America, so we thought it was time
to try and update it somewhat, towards the world as it is now...
[Genesis P-Orridge of Throbbing Gristle, ICH]
At the time Industrial Music began music was already being lyrically
updated by Punk rock. What sets Industrial apart from 'alternative' music
the music itself was modernized. In the realm of popular music this
may have seemed progessive and even futurist but the sounds where just
ones from everyday life. dark and unpleasent topics
(theme).
The Industrial appoarch is not to clean things up, but instead to present
them in all their dirt (simular to 'Social Realism' in literature).
Real topics with shock value are the favorite subjects: serial killers,
insanity, war, coruption, addiction, etc. In addition the music itself
is often as dark as the lyrics and samples (sound bite dialogues).
Of course not all Industrial falls into this mold. Even those who
use these subjects most often use them in an ironic or 'anti' way
(ex. anti-war, anti-drugs, anti-coruption, etc.).
{see section on 'Industrial fascination with serial killers' for further
discussion. see the section on 'Industrial relation to other types
of Music' for discussion on how Industrial differs from Gothic Music.}
sci-fi (theme).
Perhaps due to the highly technological nature behind (most) Industrial
Music (electronic instruments, computers, etc.) science-fiction is
a very common theme. Most often it's the universal story of 'man verse
machine'.
'Man verse machine' shows up in most Industrial but the orginal Industrialists
didn't give it a sci-fi spin. Yes, they were influenced by J.G.
Ballad and William S. Burroughs but their brand of 'sci-fi'
is very different than William Gibson's. Robots, cyborgs, virtual
reality, cyberpunk, and other futuristic themes are in the realm of
Post-Industrial.
{see section on 'Industrial vs. Post-Industrial' for further disscussion}
ed. note: some of these are generalizations of the elements of Industrial
found in the intro of the Industrial Culture Handbook.
8. More opinions on what is Industrial Music ?
There are a lot of opinions on what Industrial is. Please see the following WWW
sites for some of them: ESTWeb
Generic
Origins
The Industrial
Page: Essays
Below are some more that were posted on rec.music.industrial.
Industrial Music is the structured sonic state of organized
chaos. Through the usage of synthesizers, found sounds, tape loops,
samplers and machines in general, the industrial musician deconstructs
sound. Industrial was founded as a reaction to the commerciality and
seeming transparentness of pop music -- as well as a direct result
of the mechanization of humanity. Through the infusion of electronics
and rhythm, the abrasion of the original industrial ethos became closer
to what it had originally rallied against. Industrial music was born
from nihilism, rejection from society and nonconformity to any genre
or social, political and musical standard. It was true anti-music.
The modern industrial musicians merge dissonance with rhythm and a
fair amount of pop sensibilities. It has become the anti-music for
the scorned pop fan.
Or, more succinctly "Industrial music is music made by machines for
machines." - me [Mr. Tangent, RMI 99/09/25 edited]
Industrial Music is the music of rebellion, written by those
individuals sick of their place in society. Whither this is a fundamentalist
Christian, a fascist Nazi, or the guy at the corner Tavern, they all
have something in common, they are creating music which they feel describes
the corner which society has backed them into. For the Christan, it
could be the fact that he is disatisfied with the way his religion
has been handled in the media, how the Catholic church has demoralized
the masses, and he needs to break the feedback loop and create an
outbreak for his problems. The Nazi could feel that his race is getting
the short end of the stick in the local job market, and he needs to
write music describing how he lost his job because of job quotas.
The average Joe at the county tavern could be writing about the cops
smashing his car last night on a drug raid on the neighbors. All three
people have one thing in common, they are utilizing the music as a
tool to focus their distaste of the system in which they live.
Now, some bands seem to be able to focus this better than others. For
years Skinny Puppy has thrived on the simply fact that they
are against all forms of animal testing. This has thrust them into
the media spotlight on more than on occasion. Boyd Rice has
used his music to fuel his Aryan Nation belief, and skinheads have
rallied around him. More recently, Trent Renzor of Nine Inch Nails
has created a music driven out of angst, frustration and torment or
a past relationship. Trent has made his music marketable, and as a
result has sold his message to million's of listeners.
We need to realize the the term "Industrial Music" CANNOT be used to
pin down a specific music style, but rather a rebelling attitude towards
the system at hand. Think about the origins of Throbbing Gristle,
they created music so radically different from anyone else at the
time, that needed to place a label upon it. The label was Industrial,
and the net result for years to come was to label any radically different,
unmarketable, unpopular, electronic, quasi-logical, anti-political,
anti-label, pro-animal, feedback, found sound, sampled, music as Industrial.
So, next time before you go reaming someone else about why Christianity
doesn't have anything to do with industrial music, or how much Trent
really sucks/is the greatest man in the Universe, think before you
post. Maybe the person your replying too feels akin to the music they
listen to, that they have rallied to the flag raised under the music.
Everyone has done this from time to time. I've kind of strayed from
the point a little, and probably pissed a few people off by comparing
Christianity to radical Nazi's and down home hicks, but that was the
point, to make everyone feel akin to the issue, and make you all realize
what the f~ industrial music really stands for in the mind and the
hearts of its listeners.
DISCLAIMER: This is by NO MEANS the absolute definition of this particular
style of music, but rather how I see this style of music affecting
me, my life, and the lives of those around me. Feel free to dissect,
and critically examine whatever piece of this definition you agree/disagree/contend
with, etc.
[Jester, RMI 95/05/03 edited]
"Industrial" was generally defined as artists, authors or musicians
whose work was released by the Industrial Records label during the
time it was functional. not everything put out by IR was neccessarily
musical. further, in looking over the entire catalog of releases, there
was hardly much in the way of a single homogenous contextual pattern
that could be easily traced or understood. however, each of the artists
represented did share a common set of interests which created a bond between
them. compare this aspect to any other artistic movement and one can
easily find the same situation repeated. it is generally accepted that
once the IR label folded, it closed THAT chapter of the industrial
movement.
There have been artistic (and even political) movements as well as
certain individuals in history that definately predate the collective thinking
of IR artists. and there are many examples of such elements which influenced
IR artists either directly or indirectly. however, that doesn't automatically
qualify these things as being direct historical predicessors. for example,
Throbbing Gristle had a unique fondness for Abba, but interestingly
enough not many people seem eager to examine the music of Abba or link
them as natural predicessors.
Since that time, there have been artists and bands who have attempted
to capture a certain aesthetic which interprets or could represent
a linear progression from the original IR artists. usually, people
come to accept these changes and differences as being a neccessary
part of the fabric of the "industrial" movement because there are still
commonalities
beyond the dialectics of musical form. using the center of the "industrial"
movement as a jumping off point, today anyone can draw a line from
and then follow it to a number of new and different paths. this is
a Good Thing. anything that can give a person new challenges and ideas
to ponder is good. whether it happens to be NIN or Hafler Trio or whatever
makes no difference so long as the person who is listening to it finds some
kernel of value in that experience. [SUGAR in their vitamins?,
RMI 1995/12/06]
There have been, in fact, half a dozen bands which are known to have
tried similar experimental themes to Throbbing Gristle BEFORE
Throbbing Gristle. Industrial music, however, was founded purposely
by Throbbing Gristle who said out right where are going to start
a new type of music, an anti-music if you will, and were going to call
it "Industrial". Thus, they founded their label Industrial records
and coined the phrase "Industrial music for Industrial people". It
was because of its deliberate inception that Industrial Music is accredited
by being begun by Throbbing Gristle.
Ok, let's just throw the word "Industrial" out of the conversation.
Technically, "Industrial" no longer it exists. Throbbing Gristle,
EN, and Cabaret Voltaire were Industrial, but that was
back in the day. Now, however, "Industrial" has evolved into a couple
branches: There is Noise and Experimental/Avante Garde stuff
(Merzbow etc.) There is your EBM/Electro (The Majority
of contemporary "Industrial" fits into this category) And some
might include Ambient works in there as well. Now, bands like
Ministry, KMFDM, and NIN are said to not be Industrial
because they do not fall into any of the above incarnations of "Industrial".
They are, however, Industrial-Related (meaning that they are close
enough) so they can be discussed on RMI, although many will criticize
them. Recently, myself as well as many people who I have been speaking
to place the aforementioned bands in the the hybrid category Industrial-Rock.
Lastly,
the reason why FLA's Millennium is considered electro
despite the fact that it uses a great deal of guitar is due to the
level of complexity and abundance of their programming. The guitars
on Millennium generally only form the base line, and then the
hordes of electronics go on top of them making for the majority of
the music. Does Millennium contain a decent amount of guitar?
Yes. Does Millennium also contain more electronics and programming
than the every NIN and KMFDM album put together? Yes [Druid,
RMI 1995/12/01 & 1996/04/02 edited]
The Industrial aesthetic is pretty easy to define... it's an aesthetic
that relys on reacting to that which is accepted as the mainstream.
The first thing an industrialist must do is recognize the patterns
the cycles of pop culture takes in order to anticipate his next action.
So for example, if heavy metal is the uncoolest thing around, thats
what the industrialists will be doing. If noise and extremism is the
order of the day, then the industrialist delivers a light and sappy
ballad. So right away we can see that a band like FLA who exploits
breakbeats at the moment that breakbeats are at their trendiest, can
be looked at as the epitome of anti-industrial activity. Remember,
being a good industrialist relies on anticipating where the hype is
going so that you don't end up there by accident when a sub-genre 'explodes'
onto the mainstream. But FLA have anticipated where the hype is headed
in order so that when the rest of the world gets there they'll already
see FLA sitting there saying 'where ya been??'. Now I don't mean to
pick on FLA here, I could be referring to any of the bands commonly
discussed on this newsgroup.
As for the question of wether industrial is dadastic... sure it's dadastic
unless dada becomes trendy, in which case it will immediately shift
180 degrees in the opposite direction. So there ya have it... industrial
is a 180 degree shift in paradigm rather than the 360 degree paradigm
shuffle you guys have been doing (ie going around in circles and listening
to the same old crap for years while the kids wait patiently for our
generation to come up with something more interesting, or at least
halfway relevant). [jeremy tolsma, RMI 1997/12/22 edited]
9. What are the differences between Industrial & Post-Industrial ?
10. Who came up with the name 'Industrial Music' ?
Peter Christopherson of Throbbing Gristle came up with
name 'Industrial' for the their record label. Monte Cazazza
was the person responsible for the slogan 'Industrial Music for Industrial
People'. [WOC p7.16]
The term 'Industrial Culture' was probably first coined by John
Savage in the book Industrial Culture Handbook. [ICH
?]
ed. note: The origin of the term 'Post-Industrial' still has to
be tracked down. If you know please tell us (use contact info above).
11. What are the sub-genres of Industrial Music ?
Below are listed some of the more well know sub-genres of Industrial
plus a few related offshoots from other genres. The classifications
below should be thought of as approximations and not pigeonhole definitions.
There are also a lot of eccentrics in Industrial (ex. Foetus)
that don't even approximately fix into any of them. Technically all
these sub-genres are really 'Post-Industrial' but this will be assumed
understood in the discussion. for historical perspective see
the question on the 'history of Industrial Music'.
{note: may move some of these to the 'industrial relation to other
styles of music' section}
Ambient-Industrial
Ambient is a broad term that refers to slow-tempo (or beatless)
quiet music. Western Ambient goes back to Brian Eno
and was later adapted by Techno, New Age, and Industrial
artists. What sets Ambient-Industrial apart is the Techno
& New Age versions are styles of purely electronic music, but
the Industrial version also uses 'real' elements. These 'real'
elements are mostly non-musical in nature with some examples being:
scraping metal, toys, machinery, underground caves, and installations.
Sometimes includes use of drones and chaotic noise (but a low volume).
Some of the artists include: Zoviet France, selected Coil,
and Raison d'Etre. see Dark Ambient, Soundscape
Ambient-Techno see IDM
not to be confused with the beatless style of Techno known as 'Ambient'
Apocalyptic Folk
Modernized folk music. Associated with the bands Current 93,
Death in June, Sol Invictus, and some others on World Serpent
Distribution. Classified as Industrial because of their
use of electronics and studio effects, but also called Gothic
because of their pagan and dark themes.
Black Ambient/Atmospheric
This particular genre is another case of cross pollination between
the Industrial and Metal scenes. Black Ambient is mainly
an offshoot of tradional ambient music but is driven by the more experimental
(or bored) elements of the Black Metal scene. Some notable
artists include Mortiss and Arcana. Most Black Ambient
has strong religious (satanic & pagan) and gothic overtones, venturing
as far as to include chanting and choral elements.
[www.lut.fi/~mega/muzac/BlackAmbient.html]
Coldwave
Originally used to refer to Industrial groups who would take (metal)
guitar riffs and process them with electronic equipment (sampler, computer, etc.).
This innovation was sort of the guitar equivalent of a drum machine.
The style of music of the original Coldwave artists had leanings
twards Crossover Industrial. Some examples of these groups would
be Chemlab, Hate Dept., and 16 Volt. Now used
to refer to any Industrial group that uses guitar.
Crossover
The most commercial of all industrial (but still too harsh to be 'pop'
music). It is characterized by the artists Nine Inch Nails,
Stabbing Westward, and Filter. To the majority of the
record buying public this is what industrial is, but Industrial purists
don't consider it to be industrial at all.
Dark Ambient
A specific style of Industrial-Ambient that has very dark overtones
to it. The master of this style is Lustmord.
Darkwave
The electronic elements of Industrial blended with the dark
themes and stylings of Gothic Rock. Some examples would be:
Deine Lakaien, Goethes Erben, Das Ich, Endraum,
and Oneiroid Psychosis.
Death Industrial
[1] Though this term will undoubtedly be disputed, Death Industrial
is normally used to refer to Industrial that shares vocal stylings
and lyrical direction with death metal. This term is used for both
pure noise acts with death themes as well as more sequencer driven
acts such as Japan's Dissecting Table which uses very identifiable
"Death Metal" vocals. The main qualifying element is an unabashed
pre-occupation with death, especially by using imagery and sounds from
medical sources, news and film. This term has also been applied to
industrial / death metal hybrid bands such as early Godflesh,
early Pitchshifter and other Metal-Industrial derivatives.
[2] A style of low intensity Industrial that invokes images
of funerals and the slow suffering death. Associated with the label Cold
Meat Industries and characterized by (early) Brighter Death
Now and Megaptera.
EBM (Electronic Body Music)
Named after the 1985? compilation. It's basically electronic industrial
dance music. This sub-genre is best exemplified by the group Front
242.
Electro
A catch-all term for most non-experimental forms of Industrial. As
the name implies it's electronic based with very little to no 'real'
instruments (guitar, drums, etc.). This is best exemplified by selected
works of Cabaret Voltaire, Skinny Puppy, and Frontline
Assembly.
Experimental
Experimental is an overly large term applied to any style of Industrial
that is not easily categorized. In general, if the music lacks a rigid
rhythmic structure, has unusual instrumentation and lacks any standard
sense of melody it is considered "experimental". Bands such as The
Hafler Trio, The Anti Group, and Nurse With Wound
as well as labels such as Soleilmoon and Staalplaat tend
to be lumped into this category. Most experimental Industrialists
are eccentrics and tend to work in many different styles during their
career. Experimental works at the extreme ends of intensity usually
get special names; 'Ambient' for low and 'Noise' for high. see
Ambient-Industrial, Minimal Techno, Noise
Fetish
A style of dark electronic music with sexual themes. Some bands are
Die Form and Sleep Chamber. Also considered to be a style
of Goth music.
Goth-Industrial
A catch-all term for any artist that uses elements from both Industrial
and Gothic music. Some acts include Alien Sex Fiend,
Attrition, Collide, Sisters of Mercy, and yelworC.
see Apocalyptic Folk, Darkwave, Fetish
IDM
It stands for Intelligent Dance Music. The name comes from
the Artifical Intelligence compilations on Warp Records.
It is dance music that is also meant to be enjoyed as 'listening'
music. Ambient-Techno is another term often used to label this
kind of music. Some prominent artists are Autechre and Aphex
Twin. IDM is really an offshoot of techno, but the aethestics
are very close in spirt to industrial. Some traditionally industrial
acts, such as Haujobb. (sideprojects), have also made IDM
recordings. [www.hyperreal.org/music/lists/idm/]
Metal-Industrial
?
Minimal Techno
An experimental offshoot of Techno but aethetically close to
(experimental) Industrial. The music is minimal in stru cture
but is full of electronic drones and 'random' outbusts. The best example
is the work of the group Pan Sonic.
Noise
Noise is a broad term very closely related to power electronics (and
perhaps equivalent to for the most part). Noise is music based on
that which is abrasive, atonal, harsh and dissonant. It incorporates
organic and found sounds as well as that purely electronic with the
main intent being density and severity. Usually, for something to
be considered noise there must be no attempt at any melodic formula
and if a rhythmic direction is present, it must be limited to that
which is mechanical or inhuman. When noise based music veers from
this direction it generally starts to fall under the experimental umbrella
instead. Noise is usually considered more of a North American term
while Power Electronics is used more often in reference to the Japanese
artists. {edited version}
Noise is a broad term for any extremely intense style of Experimental. Noise
is based on that which is abrasive, atonal, harsh and dissonant. It
incorporates organic and found sounds as well as that purely electronic
with the main intent being density and severity. Usually, for something
to be considered noise there must be no attempt at any melodic formula
and if a rhythmic direction is present, it must be limited to that
which is mechanical or inhuman. Some of the most recongized acts are
Merzbow, Masonna, Cock E.S.P., Haters,
and NON. see definition
in Power Noise FAQ, Power Electronics
Power Electronics
[1] The noisest side of industrial music is commonly termed
as "power electronics", which I believe is credited to Merzbow. This
particalr style depends heavily on feedback, distortion, and white
noise and is heavily influenced and driven by the Japanese scene with
a growing presence in North America (there have also been strong scenes
in Italy and other parts of Europe). More recently this particular
genre has become popular with the death metal and black metal scene
as an alternative form of extreme music (most notably with releases
on Relapse's sub-label Release and indepedent Red Stream. Notable
acts include the forementioned Merzbow (due to his never ending output
as much as anything else), Cock ESP, Aube and Hanatrash though an exhaustive
list of noise bands can be found in the related sites section of the
FAQ. [2] see definition
in Power Noise FAQ
Power Noise see Power
Noise FAQ
Soundscape
Closely related to Ambient-Industrial. The major difference
being that Soundscape has spacial components to its sound (acoustics)
that invokes an 'enviroment' (usually only existing in the imagination
of the listener).
Synthpop Revival
Years after the original Synthpop movement had ended, factions
in the industrial community (mainly European labels) decided it was
time to revive it. Starting with the original sound (& equipment that
produced it) this new Synthpop was updated with the innovations of
Industrial music. Some examples are the band Apoptygma Berzerk
and the label A Different Drum.
Techno-Industrial
Techno and electronic forms of Industrial have always
shared a lot in common. Inovations in either are quickly adapted by
the other. Some bands that work somewhere between the two genres are
Lords of Acid and Sheep on Drugs. It should also be
noted that Industrialist like Cabaret Voltaire and Psychic
TV have pioneered a few sub-genres of Techno. see IDM,
Minimal Techno
Torture Tech
Name promoted by Chase of Re-Constriction Records
to give a new spin to the artists on his label. Basically this is
a style of industrial dance that is heavy on the guitars.
{under construction please ignore}
No Wave
{Swans, Sonic Youth, Branca, Teenage Jesus..., Suicide}
12. How does Industrial related to other types of Music ?
13. What is the History of Industrial Music (timeline) ?
special note: I wrote this very quickly off the top of my head, there
are prob. lots of mistakes. If you see one let us know.
{this section is a work in progress, please ignore}
Below are some thoughts on the History of Industrial organized by its
major movements and influences.
notes: no distiction has been made between 'industrial',
'post-industrial', and 'influences' in this discussion. when there
is no known name for a movement, it gets named after a record label.
Of course artists from different labels are usually involved and not
every artist on the mentioned label is part of the movement.
the eccentric nature of Experimental forms of Industrial makes their
inclusion in historical context awkward. Thus Experimental Industial
is unfortunetly under represented in this disscussion.
Avant-Garde (Early 20th Century)
The fascination with noise and machinery which is so much a part of
what one tends to think of as "classic" Industrial music had
historic precedents. In the late 1800's ideophones (noises, concrete
sounds) were used in orchestral music, Lugi Russolo performed
using his "intonarumore" (noise machines) (1913) and around 1920 Erik
Satie used pistols and typewriters in the music for his surrealist
play Parade. The twenties also brought the "Futurist" and "Machine
Music" schools in both Italy and France. Other important historical
figures include Edgard Varese, whose "Ionisation" (1930) was
the first piece o Western music for percussion instruments alone and
who produced an important tape piece called "Poeme Electronique" in
1958; the "Musique Concrete" works of Pierre Schaeffer and
others (tape pieces made exclusively from electronically altering recordings
of natural sounds like water drops, glass breaking, etc. He was also
responsible for probably the earliest 'loop' which used groves cut
into vinyl records); and John Cage, whose "First Construction
in Metal" (for metallic percussion) and "Imaginary Landscape No. 4"
\ (for 12 radios) were landmarks in American music. [RMIFAQ95]
'Alternative' (Late 1960's America)
At the birth of counter-culture music (i.e. 'Alternative') artists
like Captain Beefheat, Velvet Underground, and Frank
Zappa where making great inovations. They were able to take experimental
music that was ment for an high-brow audience and translate it into the
form of popular music (but definitely not 'pop' music). Velvet
Underground with their anti-music White Light/White Heat
album were especially influential on early Industrial.
Dusseldorf Experimentalist (Early 1970's)
Early 1970's Dusseldorf Germany was the scene for some likemided musicians
to come together and experiment with a new kind of music. The most
notable groups being Kluster and Kraftwerk (but sounding
very different than their latter electro-pop). The music had a loose
structure (almost ambient) with mechanical & electronic noises throughout.
In retrospect it seems the term 'Industrial' would have been an appropriate
one. It is very likely these 'Dusseldorf Industrialist' were influental
on the Industrial Records crowd.
Progressive Rock (1970's)
Progressive and Art Rock reached their peaks in during
the 1970's. Great inovations in both song structure & technology were
a result. It can't be deined that Industrial befinited greatly from
this. Krautrock (i.e. German Progressive) is the style most
sited as influential on Industrial perhaps because of their tendency to
use electronics more than their American and UK counterparts.
Disco & Electro-Pop (Mid to Late 1970's)
The acceptance of electronic music by popular culture came with Disco
& Electro-Pop. With it came a lot of ideas and technology for potential
Industrialist
to experiment with. Kraftwerk hit on the right idea with their
song "Metal on Metal" with its mechanical rhythm and metal percussion.
Punk (Mid to Late 1970's UK)
Youth fed up with corporations telling them how to live decided to
define their own radically different culture. Not being a moment of
intellectuals Punk fell very short of this goal. They did provide the
right environment to birth Industrial.
Industrial Records (Late 1970's to Early 1980's UK)
It is generally accepted that the term "industrial music" was coined in
1976 when members of Throbbing Gristle formed Industrial
Records. It was to be a vehicle to explore a new form of expression
through analysis, presentation and aural stimulation. All of the individuals
involved used different means to achieve their goals, but the ideas
they shared were on common ground. This 'Industrial Records' crowd
(including likeminded artists not on the label) included Throbbing
Gristle, Cabaret Voltaire, Monte Cazzazza, Clock
DVA, SPK, NON, Leather Nun, SRL, and
William S. Burroughs. Although critics felt they were too deviant,
their brand of confrontation signaled a desire for a change in the
political and social system currently in place. However bleak and distressing,
their music was merely a reflection of the society that surrounded
them. But what's really important is that they cultivated ideas on
topics ranging from serial killing to sex and censorship as well as
countless others which are not encouraged in genteel discussions. This
was the first strike against the information war launched by the propaganda
leaders and it positioned them as more than just a musical movement,
but an alternative culture. [RMIFAQ95 edited], [ICH]
Neue Deutsche Welle (Early 1980's Germany)
Like most other places Germany had its version of New Wave (Neue
Deutsche Welle). Unlike most places it had a faction of bands more
interested in anti-music than synth-rock. Some of the most recognized
names are Einstuerzende Neubauten, Die Krupps, and DAF
(all sounding very different than their later incarnations).
Some Bizzarre (Early to Mid 1980's UK)
After the demise of Industrial Records the next big movement
for Industrial centered around the Some Bizzarre records label. Veterans
Cabaret Voltaire and Throbbing Gristle offshoots Psychic
TV & Coil were on the roster as well some new talent like
Test Department. This is also the label that introduced the
eccentic Jim Thirwell (aka Foetus) to the UK.
Early Electro (Early 1980's UK & elsewhere) Cabaret
Voltaire's early 1980's records (Red Mecca, 2x45,
etc.) really hit on the right sounds. Though in retrospect the equipment
may sound dated they had all the elements of what we now call 'Electro';
Electronics with a good beat (but not too dancey), sound bites (samples),
distroted vocals, and a overall dark feel. CV went on to do other
things but bands like Portion Control and Hula picked
up on this 'Electro' sound. Around this time Mute Records was
also putting out some quality electro bands such as the Normal
and DAF.
Meanwhile the sound of electro had spread to Vancouver Canada, inspiring
the band Skinny Puppy.
Early EBM (Early to Mid 1980's Belgium & elsewhere)
Early attempts to convert Electro into a style of dance music were
made my the likes of DAF, but it wasn't untill Front 242 came
along that it was perfected. The music was a blend of the harsh elements
of industrial (harsh electronics, samples (sound bites), metal & machine
sounds, etc.) and hard dance beats. Around the mid 1980's this style
of music was given the name Electronic Body Music or EBM
for short.
Golden Age of Industrial (Mid 1980's to Early 1990's)
{'golden age' is something made-up will think of a better name later}
By the mid 1980s Industrial had gained a strong foothold in both Europe
and North America. Bands that had previously been working independently
now came together under the banners of labels such as Wax Trax! (USA),
Nettwerk (CAN), Play it Again Sam (BEL), Antler Subway (?), etc. Such
a large scale breeding ground for new ideas for artists and listeners
was unprecedented (and arguably has never been match since).
A list of the bands that flourished in this supportive environment
include: A Split Second, Attrition, Clock DVA,
Front Line Assembly, Front 242, Klinik, KMFDM,
Meat Beat Manifesto, Ministry, Revolting Cocks, Severed
Heads, Skinny Puppy, Thrill Kill Kult. At one point
it seemed like anyone who was anybody in Industrial had a record out
on (or distributed by) Wax Trax!.
The ingredients of the resulting sounds were electro, dance, and rock.
The major inovation was there seemed to be no rules as to what mixture
was best and many bands would switch around the mix for every recording.
Two major events put and end to all this prosperity. The
effective death Wax Trax! records with the death of its owner.
The rise of crossover bands such as Nine Inch Nails. Both
greatly harmed the consumer market for (non-crossover) Industrial in
the US (and bands & labels from outside the US that relied on US market).
NIN breaks into the mainstream
Early 1990s: Zoth Ommg/Off Beat
14. More opinions on the History of Industrial Music ?
There many perspectives on the history of Industrial. Please see the
following WWW sites for some of them: ESTWeb
Generic
Origins
The Industrial
Page: Essays
Below are some more that were posted on rec.music.industrial.
version from FAQ95 It is generally accepted that the term "industrial
music" was coined in 1976 when members of Throbbing Gristle formed
Industrial Records. It was to be a vehicle to explore a new form of
expression through analysis, presentation and aural stimulation. All
of the individuals involved used different means to achieve their goals,
but the ideas they shared were on common ground. Examples of early
people on the industrial label include Monte Cazzazza, Clock DVA, Cabaret
Voltaire , Throbbing Gristle, Leather Nun, and William S. Burroughs.
Although critics felt they were too deviant, their brand of confrontation
signaled a desire for a change in the political and social system
currently in place. However bleak and distressing, their music was
merely a reflection of the society that surrounded them. But what's
really important is that they cultivated ideas on topics ranging from
serial killing to sex and censorship as well as countless others which
are not encouraged in genteel discussions. This was the first strike
against the information war launched by the propaganda leaders and
it positioned them as more than just a musical movement, but an alternative
culture. To paraphrase, these essential ideas are the makeup for the
movement: Organizational Autonomy. A conscious choice to record independently.
To preserve the intention of music and to take it away from the tainted
and greedy major record companies who enjoyed success at others expense.
Access to Information. With the perception of control techniques leaving
any physical boundaries and moving into the realm of the mind and the
mouth, it was of vital importance to discuss and be aware at all times.
Use of Synthesizers and Anti-Music. Using found materials and unconventional
means of composition industrial music was more antagonistic to its
intended audience, than being music true itself. It was "sounds without
content". Extra-Musical Elementrs. Because television has become a
more powerful agent of control than any pop music song, the use of
films and video arrangements often accompanied these aural counter
attacks. Shock Tactics. The final blow in the scheme for control has
to be the use of hitting home what you have to say, making sure that
it gets noticed. By far, this last technique is what is most often
used by modern day "industrialists" and most probably the connecting
puzzle piece that gave them such a distinction at all. Unfortunately,
we've all witnessed death and war so often in this day and age, that
we're far too jaded to care, rendering such an attempt almost useless.
Does this mean that industrial is now dead? Perhaps. But it cannot
prevent the presence of their past actions from being muted or lost.
In the early to late 80's a number of other groups began to interpret
some of the audio ideas to formulate their own territorial grounding.
Mixing the use of new technology, imaginative found (or homemade)
materials, and the incorporation of percussion and rhythm helped guide
it into the new decade. Examples of some of these bands would include:
Non, SPK, Einstuerzende Neubauten, Test Department, Laibach, Rhythm
and Noise, Ono, and Trial. By the end of the 80's, "industrial music"
had more than just changed, it had more or less, continued to progress
and evolve alongside its society. These days, it has often come to
be known as electronic instrumentation used to create a form of dance
beats blended with harsh noises and sound bites such as Skinny Puppy
, Revolting Cocks, Ministry, Front 242 and Front Line Assembly. Today,
there are musicians who create industrial music from both sides of
the fence; and the list is ever growing. The fascination with noise
and machinery which is so much a part of what one tends to think of
as "classic" Industrial music had historic precedents. In the late
1800's ideophones (noises, concrete sounds) were used in orchestral
music, Luii Russolo performed using his "intonarumore" (noise machines)
(1913) and around 1920 Erik Satie used pistols and typewriters in the
music for his surrealist play Parade. The twenties also brought the
"Futurist" and "Machine Music" schools in both Italy and France. Other
important historical figures include Edgard Varese, whose "Ionisation"
(1930) was the first piece of Western music for percussion instruments
alone and who produced an important tape piece called "Poeme Electronique"
in 1958; the "Musique Concrete" works of Pierre Schaeffer and others
(tape pieces made exclusively from electronically altering recordings
of natural sounds like water drops, glass breaking, etc. He was also
responsible for probably the earliest 'loop' which used groves cut
into vinyl records); and John Cage, whose "First Construction in Metal"
(for metallic percussion) and "Imaginary Landscape No. 4" \ (for 12
radios) were landmarks in American music. [ for more information about
industrial (experimental) music/history/ culture there are a few books
you can read: TAPE DELAY - SAF Publishing Ltd. (ISBN 0 946719 02 0)
REsearch #4/5: Burroughs/TG/Brion Gysin (ISBN 0-940642-05-0) REsearch
#6/7: The Industrial Culture Handbook (ISBN 0-940642-07-7) REsearch
#8/9: J.G. Ballard (ISBN 0-940642-08-5) REsearch #11: Pranks! (ISBN
0-940642-10-7)
--------------------------------------------------
Section 3. Questions about Industrial Culture
--------------------------------------------------
15. Is there an Industrial Culture ?
no
see http://www.vicon.net/~lords/subculture.html
16. Is Industrial Fascist ?
{this section under construction}
No, this is a missconception. There are a few bands with NAZI or racist
connections but they are the fringe of Industrial not the trendsetters. Below
are some examples of where this missconception comes from.
They're Germans ?
The major reason Industrial gets labeled 'Fascist' is because of its
ties to Germany. This reflects a much larger sterotype that all Germans
are NAZIs.
Use of Fascist Imagery
Use of WWII Samples
Mechanical/Disciplined Rythms
Throbbing Gristle, Laibach, Mussilini Headkick, Death in June, Wumpscut NON, Der
Blut... Blood Axis,
17. Is Industrial anti-religous ?
18. Why is there a fascination with Serial Killers ?
19. Are There Any 'Good Causes' Promoted by Industrialist ?
Animal Rights Just say no to NAZIs {whatever they name
is for the organization with the symbol of a swatstica being thrown
in the trash}
20. Did Industrial Music cause the Columbine high school shootings ?
--------------------------------------------------
Section 4. Artist Related Questions
--------------------------------------------------
21. Where can a band's FAQ be found ?
If your question regarding a band isn't found in this document then
try looking in the bands FAQ. Some of the more well know ones are listed
here:
Aphex Twin www.aphextwin.org/reading/afxfaq.txt William S. Burroughs
www.firehorse.com/outlaws/wsb/faq.html Coil
brainwashed.com/coil/info/faqs.html Die Form dieform.assimilation.org/info.htm
Foetus www.foetus.org/misc/iaq.html
www.foetus.org/news/archques.html Front Line Assembly
www.mindphaser.com/docs/ui_faq.html KMFDM / MDFMK www.amnin.com/kmfdm/faq.htm
Leaether Strip www.leaetherstrip.com/databank/faq.html Ministry
waste.org/ministry/faq/ My Life With the Thrill Kill Kult
members.tripod.com/~homeygfunk/tkkfaq.txt Nine Inch Nails
nothing.nin.net/ninfaq.html Skinny Puppy www.monmouth.com/~sgoldberg/ Swans
www.swans.pair.com/faq.html Throbbing Gristle www.brainwashed.com/tg/faqs.html
22. Where can a band's discography be found ?
The best place to look is always is the band's webpage. There are
also pages devoted to listing discographies. Some of the more well
known are listed below.
Ed Klein's Music
Database
This is the largest index of Industrial/Gothic music information on
the World Wide Web. Much more than just a list of bands' home pages,
this site also includes a relational database of artists, discographies,
compilations, and labels.
Musicmaniac
Mainly bands that don't have discographies listed elsewhere.
Discographies
at Hyperreal
Electronic Artists & Labels.
The Discography
Gateway
Listing the discography webpages for many artists in electronic music.
23. How are these bands related ?
Bigod 20 and Front 242
No member of Front 242 is a member of Bigod 20. Jean-Luc DeMeyer,
the lead singer of Front 242, was a guest on Bigod 20's song 'The
Bog,' and he sang it and wrote the lyrics. Aside from the similarities
in the two bands' music, this is the only direct connection between
the two bands. (And also the fact that they are five-letter words followed
by numbers.) [RMIFAQ95]
Skinny Puppy and Front Line Assembly
Bill Leeb was once a member of Skinny Puppy for a short
time around 1984-85. There was also a one-off collaboration between
the two bands called Cyberaktif in 1989.
:Wumpscut: and Noisex
Rudy Ratzinger (of :W:) produced and contributed vocals
to the Noisex debut CD Over and Out. Noisex also performed
:Wumpscut: songs during their 1997 tour.
Laibach and In the Nursey
None. The false connection is based off of a commonly reproduced missprint.
Kraftwerk and Kraftwelt
No actual connection. Kraftwelt is just influenced by Kraftwerk.
24. What does the name mean ? How did they come up with it ?
Here are some of the more well known Industrial Etymologies:
Crash Worship ADRV
The ADRV in Crash Worship's name stands for "Adoracion de Rotura Violenta,"
which more or less means "Crash Worship" in Spanish. [RMIFAQ95]
Current 93
"We were thinking of a name and at the time I was still very interested
in Crowley which was a major input in my outlook. And the 93rd Current
was the technical name of Crowley's for Thelema. I liked the idea
because it implied something at the same time as being anonymous" --
David Tibet [TAPEDELAY]
David Tibet, Tibet 93
born David Michael Bunting.
Einstuerzende Neubauten
The correct definition of Einstuerzende Neubauten is "collapsing new
buildings" where "collapsing" is an adjective, not a verb. examples:
einstuerzen - v., to collapse
einstuerzende - adj., collapsing, in a state of collapse
According to the radio-promo release of 'Interim' the name is pronounced:
INE-SHTUR-ZEN-DEH NOY-BOUT-TEN
"Neubauten" generally refers to buildings built in a particular style,
rather than to any recently constructed buildings. The style in question
is the impersonal concrete-box modernist style. Most housing projects
(especially the huge towers built in the 60's) are perfect examples
of Neubauten.
Additionally, to be strictly correct on a Western keyboard, it should
be Einstuerzende (the proper way to indicate an umlaut [ ] over the
'u' is to just write it as 'ue'). Note, that I have chosen to use the
"ue" instead of " [ ]." This makes the formatting correct when this
is converted to HTML. [RMIFAQ95]
Forma Tadre
Taken from the Force Majeure album by Tangerine
Dream.
Front 242
"It doesn't mean anything it's just a good name, including a lot of
people working for the same cause, like a front of people. And the
number is just sort of a design work. It's more like a company like
Fuji or Coca-Cola. We thought the design was good. You can also say
'Front' in any language. It really has no special meaning whatsoever"
-- Patrick Codenys [Technology Works magazine #7]
W.Y.H.I.W.Y.G.
"What You Hear IS What You Get" [www.front242.com]
Haujobb.
Name taken from the translation of 'Skinjob' (slang for 'Replicant')
from the German version of Blade Runner. Listen to the song
'Haujobb State' (on Homes and Gardens) for pronouncation. The
name is correctly spelt with a '.' at the end.
KMFDM
stands for 'Kein Mitleid fuer die Mehrheit' which in English means
"No pity For The Majority." It has been argued that the name really
means nothing because the liner notes for their album, WHAT DO YOU
KNOW, DEUTSCHLAND (WaxTrax! Records) have it listed as meaning:
"Kein Mehrheit fuer die Mitleid" however, the proper use of the phrase
would be:
"Kein Mitleid fuer die Mehrheit"
(mit=with,leid=pain -> Pity; Mehr=more,heit=-ness -> Majority)
which also uses the genders correctly. [RMIFAQ95]
MDFMK
Simply KMFDM backwards.
Mentallo & the Fixer
Named after a pair of comic book characters. Really just the name of
the band, but Gary Dassing is commonly refered to as 'Mentallo' and
Dwayne Dassing 'The Fixer'.
Ministry
Inspired by a B-movie called "Ministry of Fear" [HWOBN]
KEFALH XQ
Symbolic refernce of the 69th chapter of Aleister Crowley's The Book
of Lies. 'KEFALH' is the Greek word for 'head' but is used by Crowley
to mean 'chapter'. Each chapter consists of a single poem or 'psalm'.
'XQ ' is the way Crowley encodes the number '69'. 'The Way to Succeed-and
the Way to Suck Eggs!' is the name of the chapter and yes it's a pun
on oral sex. [CROWLEYLIES]
Acid Horse
Pun of 'acid house'
Negativland
Their name was lifted from the Neu! track "Negativland" on the
album Black Forest Gateau. On the same record is the track "Seeland"
which is the name of their record label. Negativland means "negative
country" or "country of negativity" in German and Seeland means "country
of the sea." The proper spelling for the band Negativland is without
the 'e'. [RMIFAQ95]
Skinny Puppy
"cEvin had come up with the name Skinny Puppy even before he had met
Ogre, while he was doing some experiments on his own. While the name
can be interpreted a number of different ways and has many different
levels of meaning, the basic idea is that of an abused, neglected animal
who doesn't speak much but when he does it is a pain filled yelp."
[Skinny Puppy FAQ]
SPK
"Sozialistische Patienten Kollektiv" (I've also seen it as "Sozialistische
Patienten Klink") or SPK named themselves after a group of mental patients
who formed an anarchist collective (inspired by the Baader-Meinhoff
Gang) and then blew themselves up trying to make explosives. Their
name changed on every release to phrases such as "Systems Planning
Korporation", "Surgical Penis Klinik" and "SePpuKu." [RMIFAQ95]
Throbbing Gristle
"is Yorkshire slang for an erection". [WOC p5.16]
Genesis P-Orridge
born Neil Megson. "'Genesis' was his nickname at school and 'P-Orridge'
had been aquired after living on the stuff as a destitute student drop-out".
[WOC p2.4]
Cosey Fanni Tutti
born Christine Newby. "The new name came from the title of Mozart's
1790 opera, Cosi fan tutte (which variously translated as 'They
(women) are all the same', 'Thus do our women', or 'All the Women are
at it')" [WOC p1.19]
Sleazy
Peter Christopherson. "He was interested in the sex side of us {Coum},
that's why he was nicknamed sleazy" -- Cosey [WOC p4.9]
also see Psychic TV and Coil
23 Skidoo
Title of the 23rd Chapter of Aleister Crowley's The Book of Lies. "Both
'23' and 'Skidoo' are American words meaning 'Get Out'." -- commentary
[CROWLEYLIES]
VNV Nation
The letters VNV stand for 'Victory Not Vengeance'. "The meaning behind
this stylised motto is that one should strive to achieve, not sit
in bitter regret".
yelworC
(Aliester) 'Crowley' spelled backwards.
amGod
'Dogma' spelled backwards.
25. Which bands have broken up ? Why ?
Here are some groups that have broken up or lost significant members:
Throbbing Gristle
Disbanded in 1981 when they realized they had become the opposite of
what they intended (i.e. 'rock stars'). At that time the band split
into two. Chris and Cosey now work under the names Chris
and Cosey, Creative Technology Institute, Conspiracy
International, etc. Genesis and Sleazy's project
went under the name Psychic TV. Sleazy later parted ways
with Genesis to work with Jhon Balance as Coil.
SPK
Lapsed into inactivity around 1988. Graeme Revell has since
become a very successful writer of film scores for movies such as The
Crow.
Skinny Puppy
Disbanded Jun. 12th, 1995 due to the combination of internal conflicts
and difficulties with their record label (American Records). Orge
moved on to pursue a solo career (under the names Rx & W.E.L.T.).
kEvin Key refocused his efforts into his Download project
& running Subconscious Comminications record label. Dwayne
R. Goettel died of a drug overdose in the Aug. of 1995. Rave
continues to produce bands such as Marylin Manson. [Skinny
Puppy FAQ]
Einst rzende Neubauten
In 1996 long time members Marc Chung and FM Einheit both
left the band. FM Einheit has continued on with a solo career.
Einst rzende Neubauten continued on with new members.
Front Line Assembly
Long time partner Ryhs Fulber parted company of Bill Leeb
in 1997 to pursue his own interests (production work, etc.). Chris
Peterson was then taken onboard as a replacement.
Chemlab
Disbanded the summer 1997
Swans
Disbanded in 1997 after the project had been taken to its logical conclusion.
Both Gira and Jarboe continue to be actively involved
in music.
Diatribe
Disbanded in 1998? because of a self described "lack of interest" on
the part of the band members.
KMFDM
Disbanded on Jan 22nd, 1999 because Sascha thought the band
was carring around to much "deadweight". He then started a new band
called MDFMK from ground zero. [www.kmfdm.net
& KMFDM FAQ]
Die Krupps
Disbanded 1999 details unknown. Juergen Engler is said to be
working in a new band called DKay.com. [RMI Locke 1999/05/12,
www.planetsound.com ?]
16 Volt
Disbanded in 1999
Mentallo & the Fixer
In the summer 1998 Dwayne Dassing parted ways with his brother
Gary. Gary Dassing continued on under the bands name.
In Sept. 1999 Gary called it quits citing financial infeasablity
of the project and disillusionment of the 'industrial scene' as reasons.
26. Which Industrialist have died ? How ?
RMI obituaries (RIP):
Jeff Ward
Drummer whos most notable work was in Ministry and Nine Inch
Nails. Comitted suicide in 199?, he was ??
Dwayne R. Goettel
AKA aDuck, of Skinny Puppy. Died Aug. 23, 1995 of a heroin
overdose, he was ??.
Rev. Dr. Luv (Shane Lassen)
Keyboard player for the band Electric Hellfire Club. Died Jan.
22nd, 1996 in an automoblie accident, he was ??.
Damon Edge
Of Chrome. Died in 1996 of an undisclosed cause, he was ??.
Dr. Timothy Leary
Freethinker and LSD guru. Died in 1996 of cancer, he was 75. Attended
several Ministry concerts in the days before his death.
William S. Burroughs
Author who was very influential on Industrial music. Most known for
his 'cut-up' writting method and the book Naked Lunch. Died
Aug. 2nd 1997 of a heart attack, he was 83.
Rozz Williams
Best known as the vocalist of the gothic rock group Christian Death.
Also had a long running experimental-industrial project called Premature
Ejactulation. Committed suicide on Apr. 1st 1998, he was ??.
Bryn Jones
The creative force behind the project Muslimgauze. Died Jan.
14th 1999 of a rare fungal infection of his bloodstream, he was 37.
William Tucker
Best known for his guitar contibutions to bands such as Ministry. Committed
suicide on May 14th, 1999, he was 38. Tucker had been suffering from
an unknown illness.
--------------------------------------------------
Section 5. Label Related Questions
--------------------------------------------------
27. What are some labels specializing in Industrial Music ?
AlterCulture Records
(USA) (formerly called AlterCulture Productions) A small independent
record label for dark underground music that releases a variety of
underground music and promotes social justice.
Ant-Zen (Germany) industrial
music, chilling ambient, technoid rhythms, power noise, and power electronics
Arts Industria (USA)
(Founded 1991)
Asphodel (USA) (Those
with slow browsers should beware, this site has lots of animation)
Blacklight Records (USA)
Post-Industrial, Experimental Electronica, Cosmic Industrial Dance
& Dark Music
Bodybag Productions (USA)
Idiot Stare, STG, and Universal Magnetic
Catastrophe Records
(USA) A dark-electronic label, with interest in related genres.
Charnel Music
(USA) Unusual music ranging from sheer noise assault to rhythmic
and psychedelic musics. Crash Worship, Mainliner, Trance, and Gravitar.
Cleopatra Records
(USA) The label everyone loves to hate for their seemingly unending
series of tribute albums. (Founded in 1992 Brian Perera)
Cold Meat Industries (Sweden)
Death industrial and harsh ambient music.
COP International (USA and
Germany) COP is a collective entity of musicians. (Founded 1991)
Cri Du Chat (Brazil) Now defunct.
Cyber-Tec Records
(?)
Cyberware Records
(Finland)
Daft Records (Belgium)
Dirk Ivens' label (Dive/Sonar).
Dark Vinyl Records (Germany)
Decibel (USA) Pain Station, Alien Faktor and Sirvix
Dependent Records (Germany) Home of Covenent, VAC, and VNV
Nation.
Deprogrammed
Productions (?) Electro-industrial-crossover music, home of Contigence,
Prosaic, Gibraltur as well as Cthulu Publications. (NB: page may not
be configured correctly)
A Different Drum
(USA) Synthpop label that also sells CDs/vinyl.
Diskatopia (USA)
DOM America (USA?) Experimental sounds.
Doppler Effect Records
(USA)Doppler Effect Records was founded in June of 1997 It's primary
focus is to aid in the distribution of independent local acts who simply
want to see their music in some type of tactile format.
DSBP (USA) Elektro Industrial
EBM Cyberage Music (run by the now infamous Tommy T).
Dune Records (USA and
Italy) Dune s goal is to discover new forms of electronic and rock
music, promote live acts, and talented artists within these genres.
Electric Death Trip (EDT) Records
(USA) Devoted to hard core underground electronic music, including:
industrial-splatter, dark-wave, death-metal, hard core rap, avante-garde,
techno-trance, wave, trip hop, & death rock-gothic. (Founded 1997)
ExtraTerrestrial Discs
(USA) industrial blues slack sludge noise rock
Extreme (Australia)
Releases innovative contemporary music from artists throughout the
world. Includes the sublabels: Extreme Special Editions and Extreme
Dub Systems. (Founded in 1987)
Factoria Records (Canada) Trys to bring exposure to obscure
yet talented artists. (Founded in 1992 by Andrew Amy)
Fifth Colvmn Records (USA) Now defunct label.
Flaming Fish Music (USA)
Industrial and electronic music with a more positive lyrical perspective.
(Founded in 1995)
Flatline Records (Germany)
Forced Evolution Media
(USA) Independent home of artists and musicians. (Founded by Cameron
Lewis)
4-D Records (?)
Full Blown Kirk (USA) A conglomeration of electronic musicians
and artists from the US specializing in noisy trip hop and burnt acid
jazz. (Founded 1999?)
Furnace
Records (USA) Focuses on experimental and uncompromising new
electro-industrial music.
Gashed! records (Canada)
Established to provide the *new youthful breed* of elektro-industrial
an outlet for their musical endeavors as well as bringing to North,
Central and South America some of Europe's top acts...Abscess, New
Mind, Allied Vision, Negative Format. (Founded in March of 1998)
Hypnobeat-Hyperium (?) Ethereal ambience to cyber beats,
serious experimentation through sweet pop music.
Hymen Records (Germany)
Technoid noises for collapsing people.
Ichor Recordings (?) Independant label dedicated to the
production of dark sounds for listening (dis)pleasure.
Inception Records
(?)
Invisible Records
(USA) Has an online catalog which includes T-shirts, vinyl, cassettes,
stickers, and other items.
Isomorphic Records
(USA)
Jazzassin Records
(Norway) Lots of releases by Lasse Marhaug, also has some Merzbow,
Aube, Origami Replica, etc.
KK Records (Belgium)
Devided in 5 sublabels dealing with more Alternative and techno artists.
kk traxx: harder, minimalistic, and more extreme techno.
Nova Zembla: Music styles from hard trance-like to sci-fi ambient.
Radical ambient: More experimental, that is to say not really
ambient and not hard in-your-face techno, so it is radical ambient.
Ultraxx: Clubby housey music.
Kk records: Industrial /ebm music. At the moment the label
has evolved to a weird kind of electronic pop music.
Manifold Records
(USA)
Maschinenwelt Records (Germany)
Metropolis Records
(USA) Home to Front 242, Front Line Assembly, London After Midnight,
and more than forty other industrial, gothic, and electronic artists.
MSBR Records (Japan)
Mute Records (USA)
narcissus productions seattle (USA) Providing resources to
musicians in industrial, techno, gothic, experimental, and any music
with an original, creative edge. (Founded 1987?
Negative 9 Productions (USA)
Nettwerk Records (Canada)
Nightbreed Recordings
(UK)
Opcion Sonica (Mexico)
Palace
of Worms (Italy)
Pendragon Records
(USA) haujobb, Fektion Fekler, Individual Totem, Fracture, Kalte
Farben, Gridlock, Neutronic, Velvet Acid Christ, T.H.D., La Floa Maldita,
Imperative Reaction, Xorcist, Wave Workers Foundation
Pinch A Loaf Productions
(USA) experimental, dark ambient, and noise music.
Placebo Records (Germany) Music influenced by Electronic Body
Music (EBM) and by the electronic-wave of the 1980s. (Founded summer
of 1993 by Martin Arndt and Michael Lustig)
Plate Lunch Records (Germany)
Conrad Schnitzler (one of the pioneers of Dusseldorf industrial) runs
this label.
Possesive Blindfold
Recordings (USA) Dark audio punishment. (Founded in 1995 by
Scott Beebe)
Primordial Music
(USA) Electronic and industrial music. (Formed in 1997)
Projekt Records (USA)
Quantum Loop Records
(USA) Connecting the world of drum & bass and jungle with the highly
charged producer/DJ community. (Founded in 1997)
Ras Dva Records (USA) Defunct?
Re-Constriction Records (USA) defunct?
Relapse Records (USA)
More than just extreme metal, check out the Release catalog for a good
selection of industrial artists.
Rough Trade Records
(England)
SDS Productions (USA) Industrial, EBM, and Dark Techno.
(Founded in 1993 by DJ Net Noise)
Seeland Records (USA) Negativland's label.
Self-Abuse
Records (USA) High-end noise label with the likes of Merzbow,
Aube, Smell and Quim, The Haters, Pain Jerk, Skullflower.
Simulacra Records
(USA?)
SINC recordings (?)
experimental electronic multimedia project (Founded in 1996)
(USA)
Also a good place to order CDs from other labels.
Staalplaat Records (Netherlands)
Susan Lawley Records (UK) Whitehouse's label.
Subnation Productions (USA)
Also lists events for the Southern California area.
SubRosa Records:(Belgium)
Suisonic
Records:
Tinman Records
(USA) Artists as Crocodile Shop, Android Lust, and The Aggression.
21st Circuitry Records
(USA) Xorcist, Steril, Scar tissue, Hate dept., Luxt, and
Covenant
Tzadik (USA) Avant garde
and experimental music, presenting contemporary musician-composers
who find it difficult or impossible to release their music through
more conventional channels. (Founded in 1995)
Without Fear Recordings (?)explores avant, experimental,
electronic, forth world, ambient and other realms of music
Warp Records (England)
Not necessarily industrial, but puts out some intresting CDs (and orgininated
the subgenre of IDM).
Wax Trax! Records
(USA) Once famous for its industrial releases, now a subsidiary
of TVT.
Zoth Ommog Records (Germany)
Note: This list is still under construction. Those who know of labels
not listed or links for labels lacking them (or with inactive links)
are welcome to submit this information for consideration.
28. Which Industrial labels are defunct ? And Why ?
Many Industrial labels have fallen to the wayside over the years for
various reasons. Here are a few labels that are no longer active (RIP):
Industrial Records (UK) 197?-198?
Wax Trax! (USA) 198?-199?
The label still exists but only as mere shadow of what it once was.
Fifth Colvnm (USA) 198?-1995?
Celtic Circle Productions (Germany) 199?-1997? [
www.industrial-music.com/ib/job/celtic.htm]
Off Beat (Germany)
Side Effects (USA) 1976-1999
Originally founded by the band SPK but later turned over to
Brian 'Lustmord' Williams in the late 1980's. Releases included
the works of SPK, Lustmord, The Anti Group, Lagowski, and
Monte Cazazza. In the spring of 1999, the label ceased releasing
new titles. The reason given by Williams was that the business
side of the label was detracting too much from his commitment to music.
[www.soleilmoon.com/lustmord/sideeffects.html,
www.soleilmoon.com/archive/up39.html]
21st Circuitry (USA) 199?-1999 [ www.metropolis-records.com/news/pen21.php]
Pendragon (USA) 199?-1999
In the summer of 1999 they were brought buy Metropolis Records
and became a sublabel. [ www.metropolis-records.com/news/pen21.php]
Re-Constriction (USA) 199?-1998?
--------------------------------------------------
Section 6. Recording Related Questions
--------------------------------------------------
29. What are the essential Industrial recordings ?
--------------------------------------------------
Section 7. Misc. Questions
--------------------------------------------------
30. What is the significence of the number 23 ?
test
31. Is Industrial Dead ?
--------------------------------------------------
Section 8. Resources
--------------------------------------------------
32. What are some major Industrial Music WWW sites ?
There are so many industrial related sites that there is no way to
list them all here. That said, there are a few large and long lived
resources worth noting. If you feel that your site is exhaustive enough
to belong on this list let the FAQ maintainer know.
About.com: Industrial Music
Michael McNamara's guided tour of Industrial Music.
Brainwashed
Domain hosting sites for bands like Coil, Meat Beat Manifesto, Current
93, Nurse With Wound, Cabaret Voltaire, Throbbing Gristle, Labradford,
Tortoise, etc.
Carpe Mortem
Another gateway to Industrial & Goth Information.
Ed Klein's Music
Database
This is the largest index of Industrial/Gothic music information on
the World Wide Web. Much more than just a list of bands' home pages,
this site also includes a relational database of artists, discographies,
compilations, and labels.
Industrial Information
Station
Established in 1993, IIS has an extensive review archive as well as
hosting a number of resources including the Industrial Covers List.
Deterrent Industries (aka industrial.org) has been kicking around since
1994 and host numerous resources associated with industrial and related
culture. Includes the EEEI Zine List, EEEI Data Smasher Release Database,
EEEI DJ List, iBASE Resource Database and the EEEI FAQ archive.
The Industrial Page
Gateway to information on Industrial Bands, Labels, & other resources. (note
this is the new URL).
Hyperreal
Source of information on Alternative Culture, Lifestyle, and Expression.
Noise index
An Industrial, Experimental, Noise re-source.
NoiseNet
The web's original electro-industrial music archive.
Project I.N.S.A.N.I.A.
Domain hosting sites for bands such as :Wumpscut:, B-Ton-K, Aghast
View, F/A/V, Infact, etc.
UK Industrial
Culture Directory
An exhaustive guide to industrial culture based in the UK including
gig listings, record shops, bands, fanzines and more.
33. What other newsgroups cover similar ground?
There are a number of Usenet newsgroups that share common ground with
rec.music.industrial. The main
contenders are as follows:
alt.noise - as the name suggests,
all things related to noise. In some sense this group is truer to
the roots of industrial music than r.m.i. alt.gothic
- all things gothic. There are also a number of sub-groups off of
this one for announcements, etc. alt.music.techno
- this group is definitely of interest if you're tastes veer to the
dancier side of industrial. rec.music.ambient
- rec.music.makers.synth
- this group covers anything related to synthesizers including gear
chat, for sale postings and more.
34. What are some mailing lists related to Industrial?
EEEI NewsFlash
A regular announcement only list covering EEEI news and updates to
industrial.org. To subscribe follow the above link and look for the
"subscribe" box towards the bottom left.
The Malignant Tumorlist
Discussion of Experimental-Industrial music.
WSD-L
Discussion of all musical artists associated with the World Serpent
Distribution organization and record label. Some of the more commonly
recognized artists include Nurse with Wound, Current 93, Death in June,
Sol Invictus, Coil, Lemon Kittens, Danielle Dax, and Boyd Rice.
35. What zines cover industrial?
There are a large number of zines that delve into industrial culture,
again, far too many to place here. For an exhaustive list you should
take a look at the following sites. . .
EEEI Zine List
Exhaustive database of zines related to electronic, experimental, extreme
and industrial culture.
36. What are some mailorder sources for Industrial?
There are a number of online entities that specialize in industrial
music and related culture. This is not an exhaustive list but definitely
covers some of the larger outfits:
Amazon Books Among the zillion books they carry are few on
Industrial and related topics. Anomalous
Records Specializing in experimental, abstract, electroacoustic,
soundscape, textural, sculptural, surreal, modern classical and other
strange musics. DBSP Independent
mailorder house covering EBM and industrial material for the most part. Digital
Underground Specializes
in Ambient, Dark Ambient, Electro, Experimental, Goa, Gothic, Industrial,
Techno, and Synthpop genres. Hard
Wax (Germany) One of the world's leading dealers in
the field of cutting edge electronic dance music, such as techno, house,
drum & bass, electro, but also less club-orientated stuff like trip
hop, dub and electroacoustic or electronic listening music. InfraRot (Germany)
...your
mailorder source for underground music & lifestyle. Isolation Tank Industrial,
Gothic, Experimental, & Ambient. Malignant Records Dark
Ambient and other experimental styles. Manifold Recordings Specializing
on the more experimental side of Industrial and related styles. Martz Mailorder
(Germany) EMB, Gothic, Dark Wave, Neo-Folk, Industrial, Synthie
Pop, Crossover, Ambient, Ritual, Independent, Intelligent Techno, Alternative
uvm. ! Middle
Pillar! Gothic, ambient, magick, industrial and esoteric
titles -- the largest catalog of musical esoterica on the Internet!
Pinch A Loaf Productions Experimental, Darkambient, and Noisemusic. 'Distributing'
labels such as Susan Lawly, MSBR Records, Self Abuse, Alien 8, etc.
Relapse/Release Large
catalog of distibuted items. Release Entertainment specializes in Experimental,
Industrial,
Ambient, & Noise. Relapse Records specializes in Extreme Metal. Soleilmoon
Recordings Large
online retailer / distributor carrying labels such as Staalplaat, Touch,
Ant-Zen, World Serpent, Leaf, Cold Meat Industry, Side Effects, Dorobo,
and many more. Staalplaat
(The Netherlands) "Brother" label/distributor to Soleilmoon Recordings.
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