Electronic body music (mainly known by its acronym EBM) is a music genre that combines elements of industrial music and electronic punk music.
Emerging in the early-to-mid 1980s, the genre's early influences range from the industrial music of the time (Throbbing Gristle, Cabaret Voltaire), European electropunk (DAF, Liaisons Dangereuses, Portion Control) and straight-ahead electronic music (Kraftwerk).
The style was characterized by hard and often sparse danceable electronic beats, clear undistorted vocals, shouts or growls with reverberation and echo effects, and repetitive sequencer lines. At this time important synthesizers were Korg MS-20, Emulator II, Oberheim Matrix or the Yamaha DX7. Typical EBM rhythms are based on 4/4 beats, mainly with some minor syncopation to suggest a rock music rhythm structure.
The term electronic body music was coined by the Belgian band Front 242 in 1984 to describe the music of their EP No Comment, released in the same year.
A few years before, DAF from Germany used the term "Körpermusik" (body music) in an interview to describe their danceable electronic punk sound.
Another term that has been used to refer to EBM is aggrepo, a contraction of "aggressive pop", mainly used in Germany in the late 1980s.
A split second
Front line assembly
Goa Trance (sometimes referred to as Goa or by the number 604) is a form of electronic music that developed around the same time as Trance music became popular in Europe. It originated during the late 1980s and early 1990s in the Indian state of Goa. Essentially, Trance music was pop culture's answer to the Goa Trance music scene on the beaches of Goa where the traveller's music scene has been famous since the time of the Beatles. Goa Trance enjoyed the greater part of its success from around 1994–1998, and since then has dwindled significantly both in production and consumption, being replaced by its successor, Psychedelic Trance (aka Psytrance). Many of the original Goa Trance artists are still making music, but refer to their style of music simply as "psychedelic electronica".
Goa Trance is closely related to the emergence of Psytrance during the latter half of the 1990s and early 2000s, where the two genres mixed together. In popular culture, the distinction between the two genres remains largely a matter of opinion (they are considered by some to be synonymous; others say that Psytrance is more "cybernetic" and that Goa Trance is more "organic", and still others maintain that there is a clear difference between the two). These two are, however, quite sonically distinct from other forms of trance in both tonal quality, structure and feel. In many countries they are generally more underground and less commercial than other forms of trance.
Among the first compilations or albums where Goa Trance could be heard, as opposed to "normal" trance music, are Dragonfly Records "Project II Trance" and its successor "Order Odonata". Many of these artists are still producing psychedelic electronic music, often called "classic" psy within the scene.
Man with no name
Industrial Rock is a musical genre that fuses Industrial Music and specific Rock subgenres such as Punk, Oi!, Hardcore and later on Hard Rock. Industrial Rock spawned Industrial Metal and is frequently confused with the latter.
Industrial Rock artists generally employ the basic Rock instrumentation of electric guitars, drums and bass and pair it with white noise blasts, electronic music gear (synthesizers, sequencers, samplers and drum machines). Guitars are commonly heavily-distorted or otherwise-effected. Bass guitars and drums may be played live, or be replaced by electronic musical instruments or computers in general.
One characteristic that distinguishes Industrial Rock from its non-Industrial counterpart is the incorporation of sounds commonly associated with machinery and industry. The incorporation of this sound palette was pioneered by the early 1980s "Metal Music" artists (SPK, Einstürzende Neubauten, Die Krupps, Test Dept, Z'ev and others), who practiced an Industrial Music variation that relied heavily on Metal percussion, generally made with pipes, tubes and other products of industrial waste. The psychological effect was symbolic of urban decay. In his introduction for the Industrial Culture Handbook (1983), Jon Savage considered some hallmarks of the Industrial Music genre: organizational autonomy, shock tactics and the use of synthesizers and "anti-music". Furthermore, a "special interest" in the investigation of "cults, wars, psychological techniques of persuasion, unusual murders (especially by children and psychopaths), forensic pathology, venereology, concentration camp behavior, the history of uniforms and insignia" and "Aleister Crowley's magick" was present on Throbbing Gristle's work, as well as in other Industrial pioneers.
Black light burns
Bullets in a burning box
Electric hellfire club
Front line assembly
Hell on earth
Lights of euphoria
Nine inch nails
No big silence
One lucid dream
Razed in black
Static - X
Dark Electro was a musical movement of the 1990s, developed in central Europe. The term describes the sinister sounds of electronic music groups such as yelworC, Mortal Constraint, Arcana Obscura, Placebo Effect, Trial or Tri-state, and was first used in december 1992 in connection to the album announcement of "Brainstorming", the debut album of yelworC. In february 1993, the term has been mentioned in a review to the same album.
The music style was mainly inspired by electronic/post-industrial acts such as The Klinik and Skinny Puppy. The compositions were mostly complex arranged and blended with horror soundscapes, and grunts or distorted vocals. A notable artist was YelworC, a music group from Munich, formed in 1988. They laid the foundations of the Dark Electro movement in the early 1990s and represented the first artist on the well-known German label Celtic Circle Productions.
In following years, Dark Electro was displaced by techno-influenced styles such as aggrotech and futurepop, who often mis-label themselves as "Dark Electro".
Power noise (also known as rhythmic noise, noize and occasionally as distorted beat music) is a fusion genre between Post-Industrial music and IDM, drum & bass, hardcore techno or breakcore, that takes its inspiration from some of the more structured and distorted early industrial acts, such as Esplendor Geometrico. The term "power noise" was originally coined by Raoul Roucka of Noisex in 1997, with the track "United (Power Noise Movement)". Typically, power noise is based upon a distorted kick drum from a drum machine such as a Roland TR-909, uses militaristic 4/4 beats, and is usually instrumental. Sometimes a melodic component is added, but this is usually secondary to the rhythm. Power noise tracks are typically structured and danceable, but are known to be occasionally abstract. This genre is showcased at the annual Maschinenfest festival in Krefeld, Germany, as well as at Infest in Bradford, UK.
Bands such as Combichrist and Dulce Liquido partially belong to the Aggrotech genre as well, depending on albums and/or tracks..
The term "power noise" should not be confused with the term "power electronics", which is a subgenre of noise.
Worms of the earth
Horror punk is a music genre that was defined by the band The Misfits, blending horror movie lyrical themes and imagery with musical influences from early punk rock, doo-wop, and, to a lesser degree, rockabilly.
Horror punk bands usually tell tales through their lyrics, which are often related to horror films, black humor, and horror stories or novels. Horror punk has traditionally used, amongst other horror influence, the aesthetics and themes of zombie films. Some bands base their whole genre on zombies, taking up the names zombiecore, horror punk/rock, deathrock, or monster rock. The horror punk genre has a thriving underground following, with websites and concert festivals, such as the Fiend Fest. The fan base has been tied to the resurgence of the closely-related genres, psychobilly and deathrock.
The lurking corpse
Deathrock is a term used to identify a subgenre of punk rock and Goth which incorporates elements of horror and spooky atmospheres within a Goth-Punk style and first emerged most prominently in the West Coast of the United States and London during the late 1970s and early 1980s.
Deathrock emphasizes a creepy atmosphere and an introspective mood within a punk and eerie goth musical structure. Deathrock songs use simple chords, echoing guitars, a prominent bass, and drumming which emphasizes repetitive, post-punk and tribal beats within a 4/4 time signature and often produced using a drum machine. To create atmosphere, scratchy guitars, spooky or sinister synths, and experimentation with other instruments are sometimes used. Lyrics can vary, but are typically introspective, surreal, and deal with the dark themes of isolation, disillusionment, loss, depression, life, death, etc, as can the style, varying from harsh, to melodic and melancholic, to upbeat and tongue-in-cheek. Deathrock lyrics and other musical stylistic elements often incorporate the themes of campy horror and sci-fi films, which in turn leads some bands to adopt elements of rockabilly and surf rock. However, the frequently simple song structures, heavy atmosphere and rhythmic music place a great demand on the lead vocalist to convey complex emotions, so deathrock singers typically have strong, distinctive voices and a strong stage presence.
The punk subgenres most closely related to deathrock are horror punk and psychobilly. While deathrock is a fusion of punk, post-punk and horror; horror punk is a fusion of punk, doo-wop, and horror, and psychobilly is a fusion of punk, rockabilly and horror. Because of the strong influence of horror on these subgenres, there exists considerable overlap between the three genres.
Generally speaking, horror punk sounds louder and faster than deathrock. Conversely, deathrock sounds more introspective and romantic than horror punk. Keyboards are another differentiating point: deathrock bands frequently use keyboards for atmosphere, whereas horror punk and psychobilly bands usually do not. Psychobilly, however, is easier to distinguish from horror punk and deathrock because psychobilly bands normally use an upright bass, whereas horror punk and deathrock bands do not.
Despite the similar sounding names, deathrock (which is a subgenre of Post-Punk and Goth) has no connection to the similarly named death metal (aside from occasionally similar lyrical themes), which is a subgenre of heavy metal.
Shadow of fear
A spectre is haunting Europe
All gone dead