Characteristics
The birth of industrial music was a response to "an age the access and control of information were becoming the primary tools of power." At its birth, the genre of industrial music was different from any other music, and its use of technology and disturbing lyrics and themes to tear apart preconceptions about the necessary rules of musical form supports the suggestion that industrial music is modernist music. The artists themselves made these goals explicit, even drawing connections to social changes they wished to argue for through their music. The Industrial Records website explains that the musicians wanted to re-invent rock music, and that their uncensored records were about their relationship with the world. They go on to say that they wanted their music to be an awakening for listeners so that they would begin to think for themselves and question the world around them. Industrial Records intended the term industrial to evoke the idea of music created for a new generation, with previous music being more agricultural: P-Orridge stated that "there's an irony in the word 'industrial' because there's the music industry. And then there's the joke we often used to make in interviews about churning out our records like motorcars —that sense of industrial. And ... up till then the music had been kind of based on the blues and slavery, and we thought it was time to update it to at least Victorian times—you know, the Industrial Revolution".
Early industrial music often featured tape editing, stark percussion and loops distorted to the point where they had degraded to harsh noise, such as the work of early industrial group Cabaret Voltaire, which Journalist Simon Reynolds described as characterized by "hissing high hats and squelchy snares of rhythm-generator." Carter of Throbbing Gristle invented a device named the "Gristle-izer", played by Christopherson, which comprised a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds.
Traditional instruments were often played in nontraditional or highly modified ways. Reynolds described the Cabaret Voltaire members' individual contributions as " Watson's smears of synth slime; Mallinder's dankly pulsing bass; and Kirk's spikes of shattered-glass guitar." Watson custom-built a fuzzbox for Kirk's guitar, producing a unique timbre. Carter built speakers, effects units, and synthesizer modules, as well as modifying more conventional rock instrumentation, for Throbbing Gristle. Tutti played guitar with a slide in order to produce glissandi, or pounded the strings as if it were a percussion instrument. Throbbing Gristle also played at very high volume and produced ultra-high and sub-bass frequencies in an attempt to produce physical effects, naming this approach as "metabolic music."
Vocals were sporadic, and were as likely to be bubblegum pop as they were to be abrasive polemics. Cabaret Voltaire's Stephen Mallinder's vocals were electronically treated.
The purpose of industrial music initially was to serve as a commentary on modern society by eschewing what artists saw as trite connections to the past. Throbbing Gristle opposed the elements of traditional rock music remaining in the punk rock scene, declaring industrial to be "anti-music." Early industrial performances often involved taboo-breaking, provocative elements, such as mutilation, sado-masochistic elements and totalitarian imagery or symbolism, as well as forms of audience abuse, such as Throbbing Gristle's aiming high powered lights at the audience.
Industrial groups typically focus on transgressive subject matter. In his introduction for the Industrial Culture Handbook (1983), Jon Savage considered some hallmarks of industrial music to be organizational autonomy, shock tactics, and the use of synthesizers and "anti-music." Furthermore, an 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 in Throbbing Gristle's work, as well as in other industrial pioneers. Burroughs's recordings and writings were particularly influential on the scene, particularly his interest in the cut-up technique and noise as a method of disrupting societal control. Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism. Throbbing Gristle's logo was based on the lightning symbol of the British Union of Fascists, while the Industrial Records logo was a photo of Auschwitz.
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