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| The term ''electronic body music'' was coined by Ralf Hütter of the ] electronic band ] in 1978 to explain the more physical sound of their album '']''.<ref name="technopop">(2007-11-25) ''Klein, MJ'' kraftwerk.technopop.com.br (retrieved on 2008-01-28)</ref> ] from ] used the term "Körpermusik" (''body music'') to describe their danceable electronic punk sound.<ref>Uncle Dave Lewis, D.A.F. bio, Allmusic. Access date: October 7, 2008.</ref> The term was later used in by ] band ] in 1984 to describe the music of their EP '']'', released in the same year.<ref name="iafrica">(2004-06-20) ''Monsoon, Jon'' iAfrica.com (retrieved on 2007-08-03)</ref><ref name=rideout>Ernie Rideout, interview with Front 242, ''Keyboard Presents the Best of the '80s'', Backbeat, 2008, p. 57.</ref> Front 242 characterized their approach as falling between ] and ].<ref name=rideout/> ], influenced by DAF<ref>Ned Raggett, That Total Age review, Allmusic. Access date: October 7, 2008.</ref> and ], followed soon after. Front 242's ''Official Version'' and Nitzer Ebb's ''That Total Age'', both released in 1987, represented the high point of this moment in the scene. Groups from this era often applied ] aesthetics, with ironic intent.<ref>Ned Raggett, Die Kleinen und die Bösen review, Allmusic. Access date: October 7, 2008.</ref> | The term ''electronic body music'' was coined by Ralf Hütter of the ] electronic band ] in 1978 to explain the more physical sound of their album '']''.<ref name="technopop">(2007-11-25) ''Klein, MJ'' kraftwerk.technopop.com.br (retrieved on 2008-01-28)</ref> ] from ] used the term "Körpermusik" (''body music'') to describe their danceable electronic punk sound.<ref>Uncle Dave Lewis, D.A.F. bio, Allmusic. Access date: October 7, 2008.</ref> The term was later used in by ] band ] in 1984 to describe the music of their EP '']'', released in the same year.<ref name="iafrica">(2004-06-20) ''Monsoon, Jon'' iAfrica.com (retrieved on 2007-08-03)</ref><ref name=rideout>Ernie Rideout, interview with Front 242, ''Keyboard Presents the Best of the '80s'', Backbeat, 2008, p. 57.</ref> Front 242 characterized their approach as falling between ] and ].<ref name=rideout/> ], influenced by DAF<ref>Ned Raggett, That Total Age review, Allmusic. Access date: October 7, 2008.</ref> and ], followed soon after. Front 242's ''Official Version'' and Nitzer Ebb's ''That Total Age'', both released in 1987, represented the high point of this moment in the scene. Groups from this era often applied ] aesthetics, with ironic intent.<ref>Ned Raggett, Die Kleinen und die Bösen review, Allmusic. Access date: October 7, 2008.</ref> | ||
| ===1988-1993=== | ===1988-1993=== | ||
| In the second half of the 1980s, American and Canadian music groups such as ], ]{{Fact|date=February 2008}}, |
In the second half of the 1980s, American and Canadian music groups such as ], ]{{Fact|date=February 2008}}, or ] started to use typical European EBM elements. They combined these elements with the roughness of American ] (]). | ||
| Shortly after, a handful of bands such as ] created a more rock-oriented style under the influence of EBM synths and sequences. The most well-known result was released in 1989 under the name "". | Shortly after, a handful of bands such as ] created a more rock-oriented style under the influence of EBM synths and sequences. The most well-known result was released in 1989 under the name "". | ||
| Meanwhile EBM became popular in the underground ], particularly in Europe. In this period the most important labels were the Belgian ] |
Meanwhile EBM became popular in the underground ], particularly in Europe. In this period the most important labels were the Belgian ] and ], the German ], the North American ] and the Swedish ]. | ||
| Other artists besides Front 242 and Nitzer Ebb were ], ], ], ], ], ], ] and ]. | Other artists besides Front 242 and Nitzer Ebb were ], ], ], and ], ] (a Belgian electro-rock/new beat act), ], ], ], and ]. | ||
| A few other groups were ] (a Belgian electro-rock/new beat act), ], ], ], ], ], ] or ]. These acts produced some genre-typical songs, although they were not EBM groups. | |||
| Between the early and the mid 1990s, many EBM artists split up or changed their musical style and began to borrow more distorted ] elements or elements of ] or ]. The album ''Tyranny For You'' and following albums from the pioneers Front 242 initiated the end of the EBM epoch of the 1980s. Nitzer Ebb, one of the most important artists, became a simply ] band. Without the strength of its figureheads, the original electronic body music finally faded by the mid-1990s. | Between the early and the mid 1990s, many EBM artists split up or changed their musical style and began to borrow more distorted ] elements or elements of ] or ]. The album ''Tyranny For You'' and following albums from the pioneers Front 242 initiated the end of the EBM epoch of the 1980s. Nitzer Ebb, one of the most important artists, became a simply ] band. Without the strength of its figureheads, the original electronic body music finally faded by the mid-1990s. | ||
| ===Developments=== | ===Developments=== | ||
| New groups, such as ], ], and ], combined harsh distorted beats with ]-driven melodies. What to term this evolution of the EBM genre is somewhat controversial, with artists, labels, and the music press using either simply the term ''EBM'', or else alternate terms such as '']'', <ref></ref> or especially in Germany and South America, ''elektro''. Other notable artists of this era include |
New groups, such as ], ], and ], combined harsh distorted beats with ]-driven melodies. What to term this evolution of the EBM genre is somewhat controversial, with artists, labels, and the music press using either simply the term ''EBM'', or else alternate terms such as '']'', <ref></ref> or especially in Germany and South America, ''elektro''. Other notable artists of this era include ], ], and early ]. | ||
| A second developed genre at this time was ]. Dark electro combined sinister electronic soundscapes with ] or growling vocals with a special attention to despair. Important artists were ], |
A second developed genre at this time was ]. Dark electro combined sinister electronic soundscapes with ] or growling vocals with a special attention to despair. Important artists were ], and ]. | ||
| === Revival === | === Revival === | ||
| Line 51: | Line 49: | ||
| Some EBM artists also had an influence on many ] and ] artists (e.g. ], ], Eon Project). | Some EBM artists also had an influence on many ] and ] artists (e.g. ], ], Eon Project). | ||
| By the late 1990s, a number of artists from the European techno scene |
By the late 1990s, a number of artists from the European techno scene started including more elements of EBM in their sound. In the United States, ] moved in the same direction. This tendency grew in parallel with the emerging ] scene and, as that scene started to decline, a number of artists associated with it, such as ], ], ], and ], moved towards this techno/EBM crossover style. | ||
| There has been increasing convergence between this scene and the ] EBM scene. Bands and artists have remixed each other and, most notably, Terence Fixmer joined with Nitzer Ebb's ] to form ]. | There has been increasing convergence between this scene and the ] EBM scene. Bands and artists have remixed each other and, most notably, Terence Fixmer joined with Nitzer Ebb's ] to form ]. | ||
| Line 65: | Line 63: | ||
| * ] (Germany) | * ] (Germany) | ||
| * ] (Sweden) (2002-12-04)<ref>{{De icon}} (2002-12-04) Gothicparadise.de: </ref> | * ] (Sweden) (2002-12-04)<ref>{{De icon}} (2002-12-04) Gothicparadise.de: </ref> | ||
| * ] (UK)<ref name="sideline">(2007-07-30) Side-Line: (retrieved on 2007-08-03)</ref> | |||
| * ] (Netherlands)<ref name="sideline">.</ref> | |||
| * ] (Belgium) | * ] (Belgium) | ||
| {{col-3}} | {{col-3}} | ||
| * ] (Canada) | * ] (Canada) | ||
| * ] (Belgium)<ref name="sideline">.</ref> | |||
| * ] (Germany)<ref>{{De icon}} Gothicparadise.de: </ref> | |||
| * ] (Belgium)<ref name="iafrica">.</ref> | |||
| * ] (Belgium) | * ] (Belgium) | ||
| * ] (Germany) <ref>Release Magazine: </ref> | * ] (Germany) <ref>Release Magazine: </ref> | ||
| * ] (Denmark) | * ] (Denmark) | ||
| * ] (USA) | |||
| * ] (UK) | * ] (UK) | ||
| * ] (Germany) | * ] (Germany) | ||
| Line 83: | Line 75: | ||
| * ] (Germany) | * ] (Germany) | ||
| * ] (Sweden) | * ] (Sweden) | ||
| * ] (Germany)<ref>{{De icon}} Depechemode.de Electro-News: </ref> | |||
| * ] (Sweden) | * ] (Sweden) | ||
| * ] (Belgium)<ref name="sideline">.</ref> | |||
| * ] (Sweden) | * ] (Sweden) | ||
| * ] (Sweden) | |||
| * ] (Belgium) | * ] (Belgium) | ||
| * ] (Germany) | * ] (Germany) | ||
Revision as of 16:15, 12 October 2008
 | This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Electronic body music" – news · newspapers · books · scholar · JSTOR (November 2007) (Learn how and when to remove this message) |
| Electronic body music | |
|---|---|
| Stylistic origins | Industrial music Electropunk Synthpop Post-punk |
| Cultural origins | Early 1980s, Belgium, United Kingdom, Germany, Canada |
| Typical instruments | synthesizer - drum machine - sequencer - keyboard - sampler |
| Derivative forms | new beat - goa trance - dark electro - electro-industrial |
(complete list) | |
Electronic body music (EBM, also known as aggropop) is a music genre that combines elements of industrial music and electronic dance music. It first came to prominence in Belgium.
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 pop-oriented electronic music (Kraftwerk).
Characteristics
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.
History
1978-1987
The term electronic body music was coined by Ralf Hütter of the German electronic band Kraftwerk in 1978 to explain the more physical sound of their album The Man-Machine. DAF from Germany used the term "Körpermusik" (body music) to describe their danceable electronic punk sound. The term was later used in by Belgian band Front 242 in 1984 to describe the music of their EP No Comment, released in the same year. Front 242 characterized their approach as falling between Throbbing Gristle and Kraftwerk. Nitzer Ebb, influenced by DAF and Cabaret Voltaire, followed soon after. Front 242's Official Version and Nitzer Ebb's That Total Age, both released in 1987, represented the high point of this moment in the scene. Groups from this era often applied socialist realist aesthetics, with ironic intent.
1988-1993
In the second half of the 1980s, American and Canadian music groups such as Front Line Assembly, Ministry, or Schnitt Acht started to use typical European EBM elements. They combined these elements with the roughness of American post-industrial music (Revolting Cocks).
Shortly after, a handful of bands such as Nine Inch Nails created a more rock-oriented style under the influence of EBM synths and sequences. The most well-known result was released in 1989 under the name "Head Like A Hole".
Meanwhile EBM became popular in the underground club scene, particularly in Europe. In this period the most important labels were the Belgian PIAS and Antler-Subway, the German Zoth Ommog, the North American Wax Trax! and the Swedish Energy Rekords.
Other artists besides Front 242 and Nitzer Ebb were Die Krupps, Vomito Negro, Bigod 20, and Pouppée Fabrikk, A Split-Second (a Belgian electro-rock/new beat act), The Klinik, Borghesia, The Neon Judgement, and Attrition.
Between the early and the mid 1990s, many EBM artists split up or changed their musical style and began to borrow more distorted industrial elements or elements of rock music or metal. The album Tyranny For You and following albums from the pioneers Front 242 initiated the end of the EBM epoch of the 1980s. Nitzer Ebb, one of the most important artists, became a simply electronic rock band. Without the strength of its figureheads, the original electronic body music finally faded by the mid-1990s.
Developments
New groups, such as Leæther Strip, :wumpscut:, and Suicide Commando, combined harsh distorted beats with synthesizer-driven melodies. What to term this evolution of the EBM genre is somewhat controversial, with artists, labels, and the music press using either simply the term EBM, or else alternate terms such as electro-industrial, or especially in Germany and South America, elektro. Other notable artists of this era include Psychopomps, Controlled Fusion, and early Decoded Feedback.
A second developed genre at this time was dark electro. Dark electro combined sinister electronic soundscapes with grunts or growling vocals with a special attention to despair. Important artists were yelworC, and Trial.
Revival
In the late 1990s and after the millennium, especially Swedish and German groups such as Spetsnaz, Dupont , C.A.P. and Proceed have gone the way by reproducing the old EBM style with some releases in the new millennium. Especially former East Germany with its social problems provided a growing base for the EBM Revival after 2000 (Berlin (BodyBeats), Dessau (Electric Tremor)).
Influence
Some EBM artists also had an influence on many New beat and Goa trance artists (e.g. Juno Reactor, Astral Projection, Eon Project).
By the late 1990s, a number of artists from the European techno scene started including more elements of EBM in their sound. In the United States, Adam X moved in the same direction. This tendency grew in parallel with the emerging electroclash scene and, as that scene started to decline, a number of artists associated with it, such as The Hacker, DJ Hell, Green Velvet, and Black Strobe, moved towards this techno/EBM crossover style.
There has been increasing convergence between this scene and the old school EBM scene. Bands and artists have remixed each other and, most notably, Terence Fixmer joined with Nitzer Ebb's Douglas McCarthy to form Fixmer/McCarthy.
Notable EBM Artists
|
|
|
See also
- List of post-industrial music genres and related fusion genres
- List of electronic music genres
- New Beat
References
| This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Electronic body music" – news · newspapers · books · scholar · JSTOR (June 2007) (Learn how and when to remove this message) |
- ^ Dan Sicko, Techno Rebels: The Renegades of Electronic Funk, Billboard Books, 1999, p. 142.
- (2007-11-25) Klein, MJ WSKU Radio (Kent - Ohio) - Ralf Hütter - 19/06/1978 kraftwerk.technopop.com.br (retrieved on 2008-01-28)
- Uncle Dave Lewis, D.A.F. bio, Allmusic. Access date: October 7, 2008.
- (2004-06-20) Monsoon, Jon EBM - A revolution in progress iAfrica.com (retrieved on 2007-08-03)
- ^ Ernie Rideout, interview with Front 242, Keyboard Presents the Best of the '80s, Backbeat, 2008, p. 57.
- Ned Raggett, That Total Age review, Allmusic. Access date: October 7, 2008.
- Ned Raggett, Die Kleinen und die Bösen review, Allmusic. Access date: October 7, 2008.
- Industrial FAQ
- Template:De icon (2002-12-04) Gothicparadise.de: Daniel von Dupont
- Release Magazine: Die Krupps - Too Much History
- .
| Industrial music | |
|---|---|
| Initial scene | |
| Post-industrial developments | |
| Noise | |
| Fusion genres / derivatives | |
| Related | |