Industrial metal source: en.wikipedia.org/wiki/Industrial_metal

Industrial metal
Stylistic origins
Cultural originsMid-1980s; United States, Germany, and Switzerland
Derivative forms
Other topics

Industrial metal is the fusion of heavy metal music and industrial music, typically employing repeating metal guitar riffs, sampling, synthesizer or sequencer lines, and distorted vocals.[1] Prominent industrial metal acts include Ministry, Godflesh, KMFDM and Nine Inch Nails.[3][4]

Industrial metal developed in the late 1980s, as industrial and metal began to fuse into a common genre.[3] Industrial metal did well in the early 1990s, particularly in North America,[5] with the success of groups such as Nine Inch Nails. The industrial metal movement began to fade in the latter half of the 1990s.[6]

History[edit]

Early innovators[edit]

Though electric guitars had been used by industrial artists since the early days of the genre,[3] archetypal industrial groups such as Throbbing Gristle displayed a strong anti-rock stance.[7] British post-punk band Killing Joke pioneered the crossing over between styles,[8] and was an influence on major acts associated with industrial metal such as Ministry, Godflesh, and Nine Inch Nails.[9] Another pioneer industrial rock group, Big Black, also impacted some later groups.[8][10]

By the late 1980s industrial and heavy metal began to fuse into a common genre,[3] with Godflesh's self-titled EP[11] and Ministry's The Land of Rape and Honey at the forefront. Godflesh was founded by former Napalm Death guitarist Justin Broadrick.[12] Drawing from a wide array of influences—power electronics forefathers Whitehouse,[13] noise rock band Swans,[14] ambient music creator Brian Eno[12] and fellow Birmingham hard rockers Black Sabbath[15]—the Godflesh sound was once described as "Pornography-era Cure on Quaaludes".[16] Though not a top-seller,[17] Godflesh nonetheless became an influential act, their name mentioned by Korn,[18] Metallica,[19] Danzig,[20] Faith No More,[21] and Fear Factory.[18]

Ministry emerged from the scene surrounding Wax Trax! Records, a Chicago label dedicated to industrial music.[22] Ministry's initial foray into guitar rock happened during a recording session of The Land of Rape and Honey on Southern Studios, in London.[23] The band's frontman, the Cuban-born Al Jourgensen, explained this transition:[24]

Rediscovering the guitar on this record was almost like the first day I got my Fairlight. The possibilities just seemed endless on something that had seemed so limiting before. That's really funny. I started out as a guitarist, but I hadn't really touched a guitar in five years. Then I heard that first feedback come out of the Marshall stack and all of a sudden it was like there was a whole new parameter within guitar playing itself – especially in combination with sounds that you get out of a keyboard.

Al Jourgensen with Revolting Cocks

Jourgensen seemed particularly fond of thrash metal. After the release of Land, he recruited guitarist Mike Scaccia from Texas thrashers Rigor Mortis.[25] On one occasion, Jourgensen told the press that Sepultura was his favorite band.[26] He also expressed the desire to produce a Metallica album.[27] Jourgensen's interest in dance-oriented electronic music did not entirely fade, however; he also formed the side-project Revolting Cocks, a more electronic body music-inflected collaboration with Richard 23 of Front 242.[28]

German band KMFDM was another seminal industrial metal group. Although not a metal fan, KMFDM leader Sascha Konietzko's "infatuation with ripping off metal licks" stemmed from his experiments with E-mu's Emax sampler in late 1986. He told Guitar World that,[3]

It was just interesting to use it as a kind of white noise reinforcement for our music. All of a sudden heavy metal was free from all those tempo changes and boring attitudes it always had. What I always hated most about heavy metal was that the best riffs came only once and were never repeated. So the fascination, actually, was to sample a great riff, loop it, and play it over and over again.

A Swiss trio, The Young Gods, brushed with the style on their second album, L'Eau Rouge (1989). Prior to its release, singer Franz Treichler declared:[29]

We just wanted to hear guitars. We missed the attack of 'Envoyé'. That's what we want to hear right now, pure power. A metal sound that isn't revivalist, isn't biker style, speed metal style, any style, just WHAP!

Canadian thrash metal band Malhavoc became another early pioneer of the genre when they began to mix thrash metal with industrial music in the late 1980s[30]

Pigface, formed by Martin Atkins and including Ministry drummer Bill Rieflin, emerged as an industrial metal collective of sorts, participating with many figures from the noise rock and industrial worlds.[31] Nine Inch Nails, the "one-man-band" formed by Trent Reznor, brought the genre to mainstream audiences with albums such as the Grammy-winning Broken[32] and the best-selling The Downward Spiral, accompanied by their groundbreaking performance at Woodstock '94. The rivethead subculture also developed at this time,[33] along with the so-called "coldwave" subgenre, which encompassed Chemlab, 16 Volt, and Acumen Nation.[34] Some electro-industrial groups adopted industrial metal techniques in this period, including Skinny Puppy (on their Rabies, co-produced by Jourgensen),[35] and Front Line Assembly.[36]

British band Pitchshifter, formed in 1989 by brothers Jon and Mark Clayden, also started as an industrial metal band.[37] The band later included elements of drum and bass.[38] Frontman JS mentions:[39]

[...]In the early days we were inspired by bands like Head of David and Swans and the like... coming out of punk into the weird, angry, total noise, kind of pre-industrial music. It gets called industrial but I don't know if it really is.

Industrial thrash and death metal[edit]

Industrial metal's popularity led a number of successful thrash metal groups, including Megadeth, Sepultura, and Anthrax, to request remixes by "industrial" artists.[40] Some musicians emerging from the death metal scene, such as Fear Factory, Nailbomb, Autokrator and Meathook Seed, also began to experiment with industrial. Fear Factory, from Los Angeles,[41] were initially influenced by the Earache roster (namely Godflesh, Napalm Death and Bolt Thrower).[42] The German band Oomph! after their second album Sperm started to play industrial metal combined with elements of death metal and groove metal until the album Plastik. Sepultura singer Max Cavalera's Nailbomb, a collaboration with Alex Newport, also practiced a combination of extreme metal and industrial production techniques.[43] A lesser-known example of industrial death metal is Meathook Seed, made up of members of Napalm Death and the Florida death metal group Obituary. An industrial music fan, Obituary guitarist Trevor Peres suggested drum machines for The End Complete,[44] Obituary's most successful album.[45] The other band members' refusal led him to form Meathook Seed.[44]

Industrial black metal[edit]

In the early years of the 21st century, groups from the black metal scene began to incorporate elements of industrial music. Mysticum, formed in 1991,[46] was the first of these groups.[47] DHG (Dødheimsgard), Thorns from Norway and Blut Aus Nord, N.K.V.D. and Blacklodge from France, have been acclaimed for their incorporation of industrial elements.[48] Other industrial black metal musicians include Samael,[49] The Axis of Perdition,[50] Aborym,[51] and ...And Oceans.[52] In addition, The Kovenant,[53] Mortiis and Ulver emerged from the Norwegian black metal scene, but later chose to experiment with industrial music.[54][55]

Progressive industrial metal[edit]

Several artists with their roots in progressive music, though not often associated with industrial metal scene, also incorporated industrial textures into their music. Later-era King Crimson, whose 2000s albums were referred as "industrial art metal"[56], and OSI can be named as examples of progressive industrial metal. Several acts associated with extreme metal subgenres also mix progressive and avant-garde metal with industrial, those include the Hungarian experimental metal act Thy Catafalque[57], Blut aus Nord and Norwegian band Shining with their critically acclaimed Blackjazz album, which blended progressive rock[58], black metal, free jazz and industrial[59]. Canadian artist Devin Townsend, the founder of industrial thrash metal[60] band Strapping Young Lad, later fused industrial with progressive metal during his prolific solo career.[61]

Commercial rise[edit]

Main article: Industrial rock sales and awards
Nine Inch Nails in concert, 2009
Rammstein Live at Madison Square Garden.

Industrial metal blossomed in the early 1990s, particularly in North America,[5] where it would eventually sell close to 35 million units.[62][63] It first became a commercial force in 1992 when Nine Inch Nails' Broken and Ministry's Psalm 69 went platinum in America, though the latter took three years to reach that status.[63] Both groups were nominated for the Best Metal Performance in the 1992 Grammy Awards, with Nine Inch Nails winning.[32] Two years later, Nine Inch Nails released The Downward Spiral, which debuted at No. 2,[64] and would eventually go quadruple-platinum.[63] This record is considered by AllMusic as "one of the bleakest multi-platinum albums ever".[65]

Overall, popular heavy rock music has changed to become more "industrialized". This robbed the industrial hardcore movement of any hopes of establishing a new identity of its own. The style is dead (or at least dying); the elements of the style continue on in new musical settings.
          – David A. Locher, Professor of Sociology, Missouri State University, 1998[66]:115

Following Nine Inch Nails' success, Marilyn Manson, led by a protégé of Reznor's,[67] came to prominence.[68] The group's live performance and its transgressive appeal was often more commented on than their music.[69]

Industrial metal reached its commercial zenith in the latter half of the 1990s – according to the RIAA databases, its top-selling artists sold around 17.5 million units combined.[63][70] Records by major industrial metal artists routinely debuted on the top spots of the Billboard 200 chart: Rob Zombie's Hellbilly Deluxe (No. 5),[71] Marilyn Manson's Antichrist Superstar (No. 3),[72] and Nine Inch Nails' The Fragile (No. 1).[73] A number of industrial metal albums performed well on Billboard's Heatseekers chart: Filter's Short Bus (No. 3),[74] Stabbing Westward's Wither Blister Burn + Peel (No. 1),[75] Rammstein's Sehnsucht (No. 2),[76] Orgy's Candyass (No. 1),[77] and Static-X's Wisconsin Death Trip (No. 1).[78]

During this era, Trent Reznor was chosen by Time as one of the most influential Americans of 1997.[79] The genre's popularity was such that established glam metal groups, including Guns N' Roses and Mötley Crüe, began to dabble in the style.[80][81] Figures from the hip hop scene also began to seek out collaborations with and remixes from industrial metal musicians.[82][83][84]

When industrial metal climbed the charts of the late 1990s, its sudden popularity was met with negative reactions from the early innovators of industrial music. Peter Christopherson told The Wire that he no longer felt any kinship with the industrial scene: "this is not me, this is not what I'm about".[85] Lustmord, a prominent early industrial musician,[86] declared that "Ministry just doesn't interest [him]" and "[he has] no time for all this rock and roll shit they're doing now."[87] Skinny Puppy frontman Nivek Ogre dismissed Nine Inch Nails as "cock rock"[88] but have since patched things up and have even performed on stage together.[89]

Industrial metal suffered a critical backlash at the turn of the millennium. In an April 2000 review for the Chicago Sun Times, Jim DeRogatis dismissed Nine Inch Nails' new music as a "generic brand of industrial thrash" and accused Ministry of repeating an act that "was old by 1992".[90] Although The Fragile reached the top spot of the Billboard 200[91] and went on to earn double platinum status,[63] DeRogatis considered it a "flop" nonetheless.[90] Around this time, veteran industrial metal artists (Ministry,[92] Godflesh,[93] and White Zombie[94]) began to repudiate the industrial label. Sales remained high throughout 2000–2005; at least 10 million records were sold during that time frame.[63][70] Many groups began to take influence from hip hop and electronic music, in addition to industrial metal. As a result, acts like Powerman 5000 are often described as industrial metal as well as nu metal.[95]

Film and video[edit]

Several industrial metal groups have produced eye-catching videos. These include Godflesh's collaboration with Andres Serrano,[96] Aidan Hughes's graphics for KMFDM,[97] Nine Inch Nails' work with Mark Romanek,[98] Rob Zombie's visual work for White Zombie (for which he received the MTV Video Music Award for Best Hard Rock Video),[99] and Marilyn Manson's output with Richard Kern[100] and Floria Sigismondi.[101] NIN later collaborated with Bill Viola for live accompaniment.[102] Trent Reznor also produced the soundtracks for the films Natural Born Killers and Lost Highway, and served as "musical consultant" for Man on Fire.[103][104][105] Rob Zombie has directed three films.[99] In 2009, Marilyn Manson was in the process of directing Phantasmagoria: The Visions of Lewis Carroll. The movie has since languished in development hell.[106] Other films that have included prominent contributions from industrial metal artists include The Crow, Johnny Mnemonic, Spawn, The Matrix, Blair Witch and A.I. Artificial Intelligence.[107][108][109][110][111]

Controversy[edit]

Its emphasis on transgressive themes has made a few industrial metal groups vulnerable to attack from American social conservatives. For example, Sen. Bob Dole, then head of the Republican Party, sharply criticized Time Warner after a meeting between Michael J. Fuchs (head of the Warner Music Group), William Bennett, and C. Delores Tucker, at which Tucker and Bennett demanded that Fuchs read lyrics from NIN's "Big Man with a Gun".[112] A year later, Bennett, Tucker, and Joseph Lieberman launched a similar campaign against MCA Records for their distribution of Marilyn Manson's music.[113] Many of his concerts were cancelled by authorities after this uproar.[109] In addition, Dennis Cooper cited Ministry's video for "Just One Fix", which featured footage of William S. Burroughs, as an early example of heroin chic.[114]:106–107 Some initial reports claimed that Columbine High School shooters Eric Harris and Dylan Klebold were Marilyn Manson fans.[115] In fact, they preferred KMFDM and Rammstein.[116] Asa Coon, another school shooter, was a Manson fan.[117] Manson, a former journalist, published a detailed response to the controversy following the Columbine shootings in an article published in Rolling Stone. It concluded:[118]

I think that the National Rifle Association is far too powerful to take on, so most people choose Doom, The Basketball Diaries or yours truly. This kind of controversy does not help me sell records or tickets, and I wouldn't want it to. I'm a controversial artist, one who dares to have an opinion and bothers to create music and videos that challenge people's ideas in a world that is watered-down and hollow. In my work I examine the America we live in, and I've always tried to show people that the devil we blame our atrocities on is really just each one of us. [...]

Sascha Konietzko reported that KMFDM was "sick and appalled" by the shootings, issuing a statement the following day saying:[119]

First and foremost, KMFDM would like to express their deep and heartfelt sympathy for the parents, families and friends of the murdered and injured children in Littleton. We are sick and appalled, as is the rest of the nation, by what took place in Colorado yesterday.

KMFDM are an art form – not a political party. From the beginning, our music has been a statement against war, oppression, fascism and violence against others. While some of the former band members are German as reported in the media, none of us condone any Nazi beliefs whatsoever.

Rammstein stated that they "have no lyrical content or political beliefs that could have possibly influenced such behavior".[120] Rammstein have also been controversial for their use of Nazi imagery, including footage shot by Leni Riefenstahl for Olympia in their video for "Stripped".[121] Alec Empire, a German digital hardcore musician, declared that "[Rammstein is] successful for all the wrong reasons. I think they're not a fascist band at all, but I think in Germany there's a lot of misunderstanding and that's why they sell records and I think that's dangerous."[122] In response to the controversy, Rammstein stated that "We are not Nazis, Neo-Nazis, or any other kind of Nazi. We are against racism, bigotry or any other type of discrimination."[121] The band went on to create the song "Links 2-3-4", released in 2001, which responded to the Nazi allegations by insinuating that they reside left on the political spectrum.[123]

See also[edit]

References[edit]

Notes[edit]

  1. ^ a b "Industrial Metal". Allmusic. All Media Network. Retrieved September 9, 2017.
  2. ^ "Alternative Metal". Allmusic. All Media Network. Retrieved September 9, 2017. The first wave of alternative metal bands fused heavy metal with prog-rock (Jane's Addiction, Primus), garage punk (Soundgarden, Corrosion of Conformity), noise-rock (the Jesus Lizard, Helmet), funk (Faith No More, Living Colour), rap (Faith No More, Biohazard), industrial (Ministry, Nine Inch Nails), psychedelia (Soundgarden, Monster Magnet), and even world music (later Sepultura)...By the latter half of the '90s, most new alt-metal bands were playing some combination of simplified thrash, rap, industrial, hardcore punk, and grunge.
  3. ^ a b c d e Di Perna A 1995, p. 69.
  4. ^ Berelian, Essi (2005). The Rough Guide to Heavy Metal. London: Rough Guides. pp. 131, 225–227, 252–254. ISBN 1-84353-415-0.
  5. ^ a b Wiederhorn 1994, p. 64.
  6. ^ Wolf-Rüdiger Mühlmann (1999). "DIVISION ALPHA — Fazium One". Rock Hard (in German). No. 155. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
  7. ^ Paytress 1995, pp. 92, 94.
  8. ^ a b Chantler 2002, p. 54.
  9. ^ Bennett, J. (July 2007). "Killing Joke". Decibel Magazine. No. 33. Archived from the original on March 15, 2008. Retrieved September 9, 2017.
  10. ^ Chick, Stevie (July 18, 2008). "Till deaf us do part". The Guardian. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
  11. ^ Walters, Martin. "Godflesh - Godflesh". AllMusic. All Media Network. Retrieved September 15, 2017.
  12. ^ a b Bartkewicz, Anthony (March 2007). "Justin Broadrick". Decibel Magazine. No. 29. Archived from the original on February 23, 2008. Retrieved September 9, 2017.
  13. ^ Kaye 1992, p. 16.
  14. ^ Ruffin, Josh (October 23, 2007). "Justin Broadrick: Existing through risk". Metro Spirit (19.13). Archived from the original on February 10, 2009. Retrieved September 9, 2017.
  15. ^ Pettigrew 1991, p. 22.
  16. ^ Thompson 1994, p. 44.
  17. ^ Mudrian 2004, p. 186.
  18. ^ a b Yates 2001, p. 19.
  19. ^ Alexander 1995, p. 52.
  20. ^ Bennett, J. (January 2007). "Glenn Danzig". Decibel Magazine. No. 27. Archived from the original on February 23, 2008. Retrieved September 9, 2017.
  21. ^ Mörat 1990, p. 14.
  22. ^ Blush 2001, p. 223.
  23. ^ Gill 1996, p. 88.
  24. ^ The Ministry of Noise 1989, p. 49.
  25. ^ Whitney Z. Gomes. "Mike Scaccia". AllMusic. All Media Network. Retrieved September 9, 2017.
  26. ^ Barcinski 1992, p. 27.
  27. ^ Gitter 1990, p. 77.
  28. ^ Jeffries, David. "Revolting Cocks — Biography". Allmusic. All Media Network. Archived from the original on July 29, 2017. Retrieved September 9, 2017.
  29. ^ Reynolds 1988, p. 28.
  30. ^ "Malhavoc". Discogs. Archived from the original on 2017-09-28. Retrieved 2017-09-27.
  31. ^ Prato, Greg; Erlewine, Stephen Thomas. "Pigface — Biography". AllMusic. All Media Network. Retrieved September 9, 2017.
  32. ^ a b "Winners: Best Metal Performance". grammy.com. Archived from the original on March 12, 2007. Retrieved September 9, 2017.
  33. ^ "Re-Constriction". Cargoland!. Archived from the original on 30 September 2007. Retrieved 11 September 2007.
  34. ^ Ilker Yücel, interview with Jared Louche, ReGen Magazine, 20 January 2008. "Archived copy". Archived from the original on 2008-05-09. Retrieved 2016-02-09.CS1 maint: archived copy as title (link) Access date: 28 December 2008.
  35. ^ DiGravina, Tim. "Rabies — Overview". Allmusic. All Media Network. Archived from the original on August 29, 2017. Retrieved September 9, 2017.
  36. ^ Semczuk, Karine (31 October 1998). "Front Line Assembly – Bill Leeb – An Interview". Last Sigh Magazine. Archived from the original on 2001-07-10. Retrieved 2017-09-09. Cite magazine requires |magazine= (help)
  37. ^ "Archived copy". Archived from the original on 2013-12-03. Retrieved 2014-12-18.CS1 maint: archived copy as title (link)
  38. ^ Swihart, Stanton. "Pitchshifter — Biography". allmusic. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
  39. ^ Young, Craig. "earpollution profiles – pitchshifter [page 2]". Earpollution. Vol. 1 no. 0. Archived from the original on September 9, 2017. Retrieved September 9, 2017.
  40. ^ Arnopp A 1993, p. 41.
  41. ^ Huey, Steve. "Fear Factory — Biography". AllMusic. All Media Network. Archived from the original on January 7, 2016. Retrieved September 15, 2017.
  42. ^ Cordero, Amber (director) (December 18, 2001). Fear Factory: Digital Connectivity (motion picture). United States of America: Roadrunner Records.
  43. ^ Jeff Maki (2007). "Revisited - Nailbomb - Point Blank". Live-Metal.net. Archived from the original on December 25, 2008. Retrieved September 13, 2017.
  44. ^ a b Arnopp B 1993, p. 44.
  45. ^ "It's Official: CANNIBAL CORPSE Are The Top-Selling Death Metal Band Of The SoundScan Era". BLABBERMOUTH.NET. November 17, 2003. Archived from the original on June 2, 2008. Retrieved September 13, 2017.
  46. ^ Marty Rytkonen, Mysticum interview, Worm Gear No. 8, "Archived copy". Archived from the original on 2015-09-24. Retrieved 2014-12-18.CS1 maint: archived copy as title (link) Access date: 11 January 2009.
  47. ^ Roel F., Interview with Treachery, Lords of Metal issue 87, December 2008. [1] Access date: 3 December 2008.
  48. ^ Chris Dick, "Blut Aus Nord", Decibel, December 2006. "Archived copy". Archived from the original on 2007-02-05. Retrieved 2016-02-09.CS1 maint: archived copy as title (link) Access date: 22 July 2008.
  49. ^ Samael, metal-archives.com, 3 September 2011. "Archived copy". Archived from the original on 2016-07-25. Retrieved 2016-07-30.CS1 maint: archived copy as title (link) Access date: 10 September 2011.
  50. ^ Matt Mooring, Deleted Scenes from the Transition Hospital review, Metalreview.com, 28 March 2005. "Archived copy". Archived from the original on 2012-02-27. Retrieved 2010-01-25.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  51. ^ Gothtronic. "Archived copy". Archived from the original on 2010-02-07. Retrieved 2010-01-25.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  52. ^ Globaldomination, 26 September 2007. "Archived copy". Archived from the original on 2009-11-11. Retrieved 2010-01-25.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  53. ^ Antti J. Ravelin, Nexus Polaris review, Allmusic. [2] Access date: 11 January 2009.
  54. ^ Stefanos Zachariadis, Blood Inside review, Metal Invader, 3 May 2005. "Archived copy". Archived from the original on 2007-09-27. Retrieved 2007-06-18.CS1 maint: archived copy as title (link) Access date: 9 January 2009.
  55. ^ Mark Hensch, Some Kind of Heroin review, Thrashpit. "Archived copy". Archived from the original on 2014-12-18. Retrieved 2014-12-18.CS1 maint: archived copy as title (link) Access date: 9 January 2009.
  56. ^ Langdon Hickman, A Beginner’s Guide to the epic music of King Crimson. "Archived copy". Archived from the original on 2019-06-24. Retrieved 2019-09-15.CS1 maint: archived copy as title (link) Access date: 15 September 2019.
  57. ^ Thy Catafalque – Geometria Review "Archived copy". Archived from the original on 2018-06-12. Retrieved 2019-09-15.CS1 maint: archived copy as title (link) Access date: 15 September 2019.
  58. ^ Begrand, Adrien (3 February 2010). "Blackjazz review". PopMatters. PopMatters Media. Retrieved 30 April 2010.
  59. ^ Freeman, Phil. "Blackjazz review". Allmusic. Rovi Corporation. Retrieved 30 April 2010.
  60. ^ Industrial metal at AllMusic. Retrieved August 22, 2011.
  61. ^ "Ocean Machine: Biomech review". MetalStorm.
  62. ^ "Search Certification Database". Canadian Recording Industry Association (CRIA). Archived from the original on 1 May 2010. Retrieved 27 June 2008.
  63. ^ a b c d e f "GOLD AND PLATINUM – Searchable Database". RIAA. Archived from the original on 26 June 2007. Retrieved 12 December 2007.
  64. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Archived from the original on 8 May 2013. Retrieved 5 January 2008.
  65. ^ Huey, Steve. "(Nine Inch Nails > Biography)". allmusic. Retrieved 9 January 2009.
  66. ^ David A. Locher (1998). "The Industrial Identity Crisis: The Failure of a Newly Forming Subculture to Identify Itself". In Jonathan S. Epstein (ed.). Youth Culture: Identity in a Postmodern World. Wiley-Blackwell Publishers. pp. 100–117. ISBN 1-55786-851-4 – via the Internet Archive.
  67. ^ Staff. (10 May 2000) Manson, Reznor mend fences Archived 2008-10-01 at the Wayback Machine MTV. Retrieved 1 March 2009.
  68. ^ Stephen Thomas Erlewine. "Antichrist Superstar review". Allmusic. Archived from the original on 25 May 2016. Retrieved 1 March 2009.
  69. ^ Jason Ankeny. "Marilyn Manson — Biography". Allmusic. Archived from the original on 26 April 2015. Retrieved 1 March 2009.
  70. ^ a b Groups such as Fear Factory, Filter, Marilyn Manson, Ministry, Nine Inch Nails, Orgy, Rammstein, Stabbing Westward, Static-X and White Zombie, plus Rob Zombie's solo career.
  71. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Archived from the original on 8 May 2013. Retrieved 2 January 2008.
  72. ^ Antichrist Superstar Allmusic Billboard charts & awards. Allmusic.com. Retrieved 30 November 2010.
  73. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Archived from the original on 8 May 2013. Retrieved 2 January 2008.
  74. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Retrieved 5 January 2008.
  75. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Retrieved 5 January 2008.
  76. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Retrieved 5 January 2008.
  77. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Retrieved 5 January 2008.
  78. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Retrieved 5 January 2008.
  79. ^ "Time's 25 most influential americans". TIME. 21 April 1997. Archived from the original on 7 January 2008. Retrieved 14 December 2007.
  80. ^ New GNR.com [3] Access date: 4 August 2008.
  81. ^ Dave De Sylvia, Generation Swine review, [4] Access date: 4 August 2008.
  82. ^ "Puffy Remixed By Reznor, Deftones, Mascis". MTV. 15 January 1998. Archived from the original on 22 December 2008. Retrieved 21 October 2007.
  83. ^ Nin Chan, Rap Reviews, 25 January 2005 "Archived copy". Archived from the original on 2012-08-19. Retrieved 2012-08-20.CS1 maint: archived copy as title (link) Access date: 22 July 2008
  84. ^ Dave Maher, Pitchforkmedia news, 16 February 2007 "Archived copy". Archived from the original on 2009-02-28. Retrieved 2016-02-09.CS1 maint: archived copy as title (link) Access date: 22 July 2008
  85. ^ Keenan, David (21 July 1998). "Time Out of Joint". THE WIRE – ADVENTURES IN MODERN MUSIC. Archived from the original on 27 September 2007. Retrieved 8 September 2007.
  86. ^ John Bush, Lustmord, Allmusic bio. [5] Access date: 21 February 2009.
  87. ^ Fergunson 1993, p. 55.
  88. ^ "Memory Lane: Skinny Puppy". wordpress.com. 17 April 2010. Archived from the original on 13 October 2017. Retrieved 2 May 2018.
  89. ^ "Skinny Puppy - NinWiki". www.ninwiki.com. Archived from the original on 11 October 2014. Retrieved 2 May 2018.
  90. ^ a b DeRogatis, Jim (April 2000). "Nine Inch Nails stuck in the '90s". Chicago Sun Times. Archived from the original on 30 September 2007. Retrieved 24 August 2007. Archived at The NIN Hotline Archived 2008-05-16 at the Wayback Machine.
  91. ^ "Top Music Charts – Hot 100 – Billboard 200 – Music Genre Sales". Billboard Music Charts. Archived from the original on 8 May 2013. Retrieved 9 May 2008.
  92. ^ Pettigrew 1996, p. 46.
  93. ^ Martin 2004, p. 25.
  94. ^ Di Perna B 1995, p. 35.
  95. ^ Mehle, Michael (April 25, 1997). "Industrial Strength Powerman 5000'S `Action Rockers' Keep the Message Light In A Cacophony of Power Chords". Rocky Mountain News. p. 20D. Powerman 5000 can be called a lot of things ... industrial metal ... with a bit of hip-hop, a touch of funk and an awful lot of energy.... – via HighBeam (subscription required)
  96. ^ Jay W. Babcock, "In Godflesh We Trust", RIP Magazine, December 2006. "Archived copy". Archived from the original on 2012-06-28. Retrieved 2013-03-24.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  97. ^ Aidan Hughes, Interview by Liberation Iannillo, Trigger Magazine, 5 August 2005. "Archived copy". Archived from the original on 2008-08-21. Retrieved 2013-03-24.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  98. ^ Ed Gonzalez, Slant Magazine, 5 September 2005. "Archived copy". Archived from the original on 2009-09-04. Retrieved 2013-03-24.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  99. ^ a b Stephen Jorgl, "Rob Zombie on Making Films and Records", Audiohead.net, 2006. "Archived copy". Archived from the original on 2013-07-25. Retrieved 2013-03-24.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  100. ^ Kurt B. Reighley, Marilyn Manson, chapter 6, Macmillan, 1998, p. 73.
  101. ^ Mark Dillon, "Gothic Goddess", American Cinematographer, August 1998, p. 60-70. "Archived copy". Archived from the original on 2004-12-09. Retrieved 2009-01-04.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  102. ^ Bill Viola artist biography. "Archived copy". Archived from the original on 2014-12-08. Retrieved 2014-12-18.CS1 maint: archived copy as title (link) Access date: 4 January 2009.
  103. ^ David Browne, "'Killer' Riffs," Entertainment Weekly, 23 September 1994. "Archived copy". Archived from the original on 2009-04-21. Retrieved 2009-01-10.CS1 maint: archived copy as title (link) Access date: 10 January 2009.
  104. ^ "Death to Hootie!: Trent Reznor Makes a Case for Danger," Rolling Stone, 6 March 1997.
  105. ^ "Man on Fire (2004) – Full cast and crew". Imdb.com. Archived from the original on 1 April 2009. Retrieved 27 October 2008.
  106. ^ Wax, Alyse. Marilyn Manson Freaks Us Out at the Scream Awards, FEARnet, 20 October 2008 at FEARnet.com Archived 2008-12-20 at the Wayback Machine. Last Retrieved 22 October 2008.
  107. ^ Charles Aaron, Entertainment Weekly, 1 April 1994. "Archived copy". Archived from the original on 2014-12-18. Retrieved 2014-12-18.CS1 maint: archived copy as title (link) Access date: 10 January 2009.
  108. ^ Collins 2005, p. 166.
  109. ^ a b Paula O' Keefe, "The History of Marilyn Manson, 1997 Update Part 2 of 2", at Spookhouse.net Archived 2009-11-20 at the Wayback Machine Access date: 10 January 2009.
  110. ^ Marc Weingarten, Entertainment Weekly, 7 May 1999. "Archived copy". Archived from the original on 2014-12-18. Retrieved 2014-12-18.CS1 maint: archived copy as title (link) Access date: 9 January 2009.
  111. ^ David Basham, MTV News, 19 April 2001. "Archived copy". Archived from the original on 2004-12-10. Retrieved 2009-02-21.CS1 maint: archived copy as title (link) Access date: 9 January 2009.
  112. ^ Larry Leibstein with Thomas Rosenstiel (June 12, 1995). "The Right Takes a Media Giant to Political Task". Newsweek. p. 30.
  113. ^ "Google Groups". groups.google.com. Retrieved 2 May 2018.
  114. ^ Cooper, Dennis (March 1995). "Junkie See, Junkie Do". Spin. Vol. 10 no. 12. pp. 55, 106–107. Retrieved January 27, 2019 – via Google Books.
  115. ^ Cullen, Dave. Inside the Columbine High investigation Archived 2009-01-26 at the Wayback Machine. Salon News, 23 September 1999.
  116. ^ Cullen, Dave (20 April 2004). "The Depressive and the Psychopath". Slate. Archived from the original on 15 June 2008. Retrieved 24 August 2008.
  117. ^ School Shooting Archived October 21, 2007, at the Wayback Machine
  118. ^ Marilyn Manson (June 24, 1999). "Columbine: Whose Fault Is It?". Rolling Stone. No. 815. Archived from the original on July 21, 2012. Retrieved April 10, 2017.
  119. ^ Konietzko, Sascha (speaker) (September 2008). KMFDM – Sascha Konietzko om skolemassakrene (asf) (Streaming audio). Oslo, Norway: NRK – Norsk Rikskringkasting. Event occurs at 1:51, 4:05. Archived from the original on 21 December 2008. Retrieved 13 October 2008.
  120. ^ "KMFDM And Rammstein Speak Out About Columbine," MTV News, 23 April 1999. "Archived copy". Archived from the original on 2009-04-09. Retrieved 2012-03-20.CS1 maint: archived copy as title (link) Access date: 27 February 2009.
  121. ^ a b London Records press release, "Nazis? Hell No!" [6] Access date: 27 February 2009. Archived December 27, 2008, at the Wayback Machine
  122. ^ "Atari Teenage Riot's Alec Empire Questions Rammstein's Sincerity." MTV News, 9 November 1998. "Archived copy". Archived from the original on 2001-09-04. Retrieved 2012-03-20.CS1 maint: archived copy as title (link) Access date: 27 February 2009.
  123. ^ Serba 2001, p. B6.

Bibliography[edit]

  • Alexander, Phil (1995). "Alien Soundtracks!". Kerrang!. No. 528. pp. 52–53.
  • Arnopp, Jason (1993). "De-Construction!". Kerrang!. No. 462. p. 41.
  • Arnopp, Jason (1993). "Industrial Metal: A User's Guide". Kerrang!. No. 462. p. 44.
  • Barcinski, André (1992). "Máquina Mortífera". Bizz. No. 79. pp. 24–29.
  • Blush, Steven (2001). American Hardcore: A Tribal History. Los Angeles, CA: Feral House.
  • Chantler, Chris (2002). "Splitting Heirs". Terrorizer. No. 96. pp. 54–55.
  • Collins, Karen (2005). "Dead Channel Surfing: the Commonalities between Cyberpunk Literature and Industrial Music". Popular Music. Vol. 24 no. 2. pp. 165–178.
  • Di Perna, Alan (1995). "Jackhammer of the Gods". Guitar World. Vol. 15 no. 6. pp. 54–59, 61–62, 67, 69, 71.
  • Di Perna, Alan (1995). "White Zombie: Zombies Gave Me Lunch!". Guitar World. Vol. 15 no. 6. pp. 33, 35–26, 38, 40, 46, 170, 172.
  • Fergunson, Paul (1993). "Terror Against Terror: Lustmord's Dancefloor Coup". Industrial Nation. No. 7. pp. 53–57.
  • Gill, Chris (1996). "Swine Before Pearls: Wallowing In the Muck with Ministry's Al Jourgensen". Guitar Player. Vol. 30 no. 3. pp. 84–89.
  • Gill, C.; Rotondi, J. (1996). "Heady Metal". Guitar Player. Vol. 30 no. 3. pp. 74–82.
  • Gitter, Mike (January 1990). "Ministry: Sole Survivors". Thrasher. pp. 76–77, 100.
  • Kaye, Don (1992). "Flesh Eaters". Kerrang!. No. 388. pp. 16–17.
  • Martin, Jim (2004). "Sadness Will Prevail". Terrorizer!. No. 123. pp. 24–25.
  • Mörat (1990). "Flesh for Fantasy". Kerrang!. No. 320. pp. 14–15.
  • Mudrian, Albert (2004). Choosing Death: the Improbable History of Death Metal and Grindcore. Los Angeles, CA: Feral House.
  • Paytress, Mark (1995). "Industrial Music". Record Collector. No. 185. pp. 92–99.
  • Pettigrew, Jason (1991). "Godflesh: the Power of Positive Paradoxes". Alternative Press. Vol. 5 no. 36. pp. 22–23.
  • Pettigrew, Jason (1996). "Watch Yourself and Watch What You Say". Alternative Press. No. 92. pp. 44–51.
  • Reynolds, Simon (20 August 1988). "Detonation Angels". Melody Maker. pp. 28–30.
  • Serba, John (22 July 2001). "Operatic Vocals, Industrial Rhythms Mix For a Sound Distinctly ... German". The Grand Rapids Press. p. B6.
  • Stud, B.; Stud, T (20 June 1987). "Heaven Up Here". Melody Maker. pp. 26–27.
  • "The Ministry of Noise". Modern Keyboard. March 1989. pp. 49–50.
  • Thompson, Dave (1994). Industrial Revolution. Los Angeles, CA: Cleopatra.
  • Vale, V.; Juno, A. (1983). RE/Search #6-#7: Industrial Culture Handbook. San Francisco, CA: RE/SEARCH PUBLICATIONS.
  • Wiederhorn, Jon (1994). "Industrious Metal". Pulse. No. 64. p. 64.
  • Yates, Catherine (2001). "Souls of a New Machine". Kerrang!. No. 871. pp. 18–20.