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Not to be confused with Industrial musical.

Industrial
Other namesIndustrial
Stylistic origins
Cultural originsEarly-to-mid-1970s, United Kingdom, United States (Chicago), and Germany
Derivative forms
Subgenres
Fusion genres
Regional scenes
  • Australia
  • Germany
  • United Kingdom
  • United States (Chicago)
Other topics
Electronic music
Experimental forms
Popular styles
Other topics

Industrial music (also known as industrial) is a genre of music inspired by post-industrial society, initially drawing influences from avant-garde and electronic music genres such as musique concrète, tape music, sound collage and white noise.[2] The term was originally coined in 1976 by Monte Cazazza and Throbbing Gristle, with the founding of Industrial Records. Other early industrial musicians included SPK, NON, Cabaret Voltaire, and Z'EV.[3][4] [5]

During the late 1980s, the industrial rock scene would emerge centered around Wax Trax! Records in Chicago, notable industrial rock acts included Front 242, Front Line Assembly, KMFDM, and Sister Machine Gun. Subsequently, the scene would lead to the emergence of genre fusions and subgenres like electro-industrial, industrial metal, martial industrial, industrial hip-hop, industrial dance and industrial techno.[6] By the 1990s, broader industrial music genres were made accessible to mainstream audiences through the popularity of acts such as Nine Inch Nails, Ministry, Rammstein, Marilyn Manson, all of whom released platinum-selling records.

Etymology

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According to the Oxford English Dictionary, the genre was first named in 1942 when The Musical Quarterly called Dmitri Shostakovich's 1927 Symphony No. 2 "the high tide of 'industrial music'."[7] Similarly, in 1972, The New York Times described works by Ferde Grofé (especially 1935's A Symphony in Steel) as part of "his 'industrial music' genre [that] called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatic drill and a compressed-air tank".[8] Though these compositions are not directly tied to what the genre would become, they are early examples of music designed to mimic machinery noise and factory atmosphere. Italian Futurist Luigi Russolo laid the groundwork for industrial music with his book and work The Art of Noises (1913), which aimed to reflect "the sounds of a modern industrial society".[9]

Characteristics

[edit]

Industrial music was a response to "an age [in which] the access and control of information were becoming the primary tools of power,"[10] defined primarily as a musical reflection of post-industrial society, with its rampant use of contemporary technology and incorporation of unconventional lyricism and themes not commonly found in popular music. Industrial artists drew influence from modernist literature, art, philosophy and avant-garde music, [10] rejecting formal rock music conventions, with Industrial Records wanting to use the term "industrial" to evoke the idea of music created for a new generation. Artist Genesis P-Orridge stated[11][12]:

[...] 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 made by groups such as Cabaret Voltaire and Throbbing Gristle, featured tape editing, stark percussion, vocal effects and loops which were distorted, with other elements being described by music journalist Simon Reynolds as "hissing high hats and squelchy snares of rhythm-generator."[13][14] Throbbing Gristle opposed traditional rock music structures associated with the punk rock scene, declaring industrial to be "anti-music."[15] 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,[16] such as Throbbing Gristle's aiming high powered lights at the audience.[17][12]

William S. Burroughs' writings became a conceptual inspiration for the industrial music movement.

Artists often played in non-traditional ways, incorporating the use of homemade instruments, such as Chris Carter of Throbbing Gristle who invented a device named the "Gristle-izer", played by Peter Christopherson, which consisted of a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds.[18] Cabaret Voltaire's Chris Watson custom-built a fuzzbox for Richard H. Kirk's guitar, producing a unique timbre.[19][13] Carter built speakers, effects units, and synthesizer modules, as well as modifying more conventional rock instrumentation, for Throbbing Gristle.[20] Tutti played guitar with a slide in order to produce glissandi, or pounded the strings as if it were a percussion instrument.[15] Throbbing Gristle also played at very high volume and produced ultra-high and sub-bass frequencies in an attempt to produce physical effects, labelling this approach as "metabolic music."[21]

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."[16] 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,[22] as well as in other industrial pioneers. William S. Burroughs' 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.[23] Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism.[24] Throbbing Gristle's logo was based on the lightning symbol of the British Union of Fascists,[25] while the Industrial Records logo was a photo of Auschwitz.[26]

Influences and precursors

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See also: Musique concrète, Noise music, Free improvisation, and Italian Futurism

Forerunners (1910s-1970s)

[edit]
Luigi Russolo and his assistant Ugo Piatti in their Milan studio in 1913 with the Intonarumori (noise machines).

In 1913, Italian Futurist Luigi Russolo laid the groundwork for industrial with his book and work The Art of Noises (1913) which aimed to reflect "the sounds of a modern industrial society".[9] Subsequently, the musique concrète movement, originally pioneered by Pierre Schaeffer and Pierre Henry in the 1940s, and later proliferating with composers such as Olivier Messiaen, Pierre Boulez, Jean Barraqué, Karlheinz Stockhausen, Edgard Varèse, Iannis Xenakis, Michel Philippot, and Arthur Honegger, proved to be a foundational influence on the production and recording techniques later found in industrial music. Furthermore, the tape music of Egyptian composer Halim El-Dabh during the 1940s to early 1950s was later retroactively recognized as a precursor to industrial. AllMusic defines industrial music as the "most abrasive and aggressive fusion of rock and electronic music".[2]

In 1964, John Cale recorded the track "Loop" which consisted solely of audio feedback in a locked groove, it was released in 1966 as a single credited to the Velvet Underground, who were later noted as influential to industrial music.[27] AMM, formed in 1965, were later retroactively recognized by AllMusic as precursors to industrial, writing that the "experimentation in sonic assault, noise, and chance sound (including transistor radios)" on their debut album AMMMusic (1967) would "reach the rock fringes in the work of industrial groups like Test Dept".[28]

Additionally, Cromagnon's album Orgasm (1969) has been cited by AllMusic's Alex Henderson as foreshadowing industrial, noise rock and no wave, with the track "Caledonia" resembling "a Ministry or Revolting Cocks recording from 1989".[29] Subsequently, Germany's krautrock scene would also be recognized as influential, the 1970 album Klopfzeichen by Kluster has been retroactively recognized as an early precursor of industrial music,[30] alongside the early works of kosmische musik band Cluster, which XLR8 magazine described as having "a profound impact on industrial music’s brainier practitioners".[31] In the book Interrogation Machine: Laibach and NSK, Alexei Monroe argues that Kraftwerk were particularly significant in the development of industrial music, as the "first successful artists to incorporate representations of industrial sounds into nonacademic electronic music."[32] Additionally, New York band Suicide, formed in 1970, by Alan Vega and Martin Rev, were retroactively described by the Guardian as "equally influential on the industrial music [...] scenes that followed."[33][32][34][35]

Another influence on the industrial music scene was Lou Reed's Metal Machine Music, retroactively described by Pitchfork as "inspiring, in part, much of the contemporary avant-garde music scene—noise, in particular."[36] The New York Times retroactively described American band the Residents as having "presaged forms of [...] industrial music".[37]

Influences

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Early industrial musicians drew influence from modernist art and literature. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, and Gilles Deleuze, as well as being inspired by the manifesto of the eponymous Socialist Patients' Collective.[38] Cabaret Voltaire took conceptual cues from William S. Burroughs, J. G. Ballard, and Tristan Tzara.[39] Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade; the latter also took impetus from the Comte de Lautréamont.[40][41]

Subsequently, musicians cited as inspirations include the Velvet Underground, Joy Division, and Martin Denny.[42] Genesis P-Orridge of Throbbing Gristle had a cassette recording library by the Master Musicians of Joujouka, Kraftwerk, Charles Manson, and William S. Burroughs.[43] P-Orridge also credited 1960s rock such as the Doors, Pearls Before Swine, the Fugs, Captain Beefheart, and Frank Zappa in a 1979 interview.[44] Germany's krautrock scene which included groups like Faust and Neu! was also noted as an influence on industrial artists[45][46], alongside John Cage who was an initial inspiration for Throbbing Gristle.[47]

Chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream.[20] Boyd Rice was influenced by the music of '60s girl groups and tiki culture.[48] Z'EV cited Christopher Tree (Spontaneous Sound), John Coltrane, Miles Davis, Tim Buckley, Jimi Hendrix, and Captain Beefheart, among others together with Tibetan, Balinese, Javanese, Indian, and African music as influential in his artistic life.[49] Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerk's Trans-Europe Express.[50] Cabaret Voltaire also recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick.[51] Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening.[40] 23 Skidoo borrowed from Fela Kuti and Miles Davis's On the Corner.[52] Many industrial groups, including Einstürzende Neubauten, took inspiration from world music.[53]

History

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Origins (1970s-1980s)

[edit]
See also: List of industrial music genres and Industrial Records

The term "industrial music," in the context of an alternative music scene was originally coined by artist Monte Cazazza in 1976 as "Industrial Music for Industrial People," which became the strapline for the record label Industrial Records, founded by Throbbing Gristle.[54][55] The first wave of industrial music music began with Throbbing Gristle, formed in Yorkshire; Cabaret Voltaire, from Sheffield;[56] and Boyd Rice (recording under the name NON), from the United States.[57]

Throbbing Gristle first performed in 1976,[58] and began as the musical offshoot of the Kingston upon Hull-based COUM Transmissions.[59] COUM was initially a psychedelic rock group, but began to describe their work as performance art in order to obtain grants from the Arts Council of Great Britain.[47] COUM was composed of P-Orridge and Cosey Fanni Tutti.[47] Beginning in 1972, COUM staged several performances inspired by Fluxus and Viennese Actionism. These included various acts of sexual and physical abjection.[20] Peter Christopherson, an employee of commercial artists Hipgnosis, joined the group in 1974, with Carter joining the following year.[59]

The group renamed itself Throbbing Gristle in September 1975, their name coming from a northern English slang word for an erection.[59] The group's first public performance, in October 1976, was alongside an exhibit titled Prostitution, which included pornographic photos of Tutti as well as used tampons. Conservative politician Nicholas Fairbairn declared that "public money is being wasted here to destroy the morality of our society" and blasted the group as "wreckers of civilization."[60][61]

By the late 1970s, industrial music acts such as Clock DVA,[62] Nocturnal Emissions,[63] Whitehouse,[64] Nurse with Wound,[65] and SPK[66] soon followed. Whitehouse intended to play "the most brutal and extreme music of all time", a style they eventually called power electronics.[61] An early collaborator with Whitehouse, Steve Stapleton, formed Nurse with Wound, who experimented with noise sculpture and sound collage.[67] Clock DVA described their goal as borrowing equally from surrealist automatism and "nervous energy sort of funk stuff, body music that flinches you and makes you move."[52] 23 Skidoo, like Clock DVA, merged industrial music with African-American dance music, but also performed a response to world music. Performing at the first WOMAD Festival in 1982, the group likened themselves to Indonesian gamelan.[68] Swedish act Leather Nun were signed to Industrial Records in 1978, being the first non-TG/Cazazza act to have an IR-release.[55] Their singles eventually received significant airplay in the United States on college radio.[69]

Industrial Culture Handbook reference guide to the philosophy and interests of a flexible alliance of "deviant" artists[70]

Across the Atlantic, similar experiments were taking place. In San Francisco, performance artist Monte Cazazza began recording noise music.[71] Boyd Rice released several albums of noise, with guitar drones and tape loops creating a cacophony of repetitive sounds.[72] In Boston, Sleep Chamber and other artists from Inner-X-Musick began experimenting with a mixture of powerful noise and early forms of EBM. In Italy, work by Maurizio Bianchi at the beginning of the 1980s also shared this aesthetic.[73] In Germany, Einstürzende Neubauten mixed metal percussion, guitars, and unconventional instruments (such as jackhammers and bones) in stage performances that often damaged the venues in which they played.[74] Blixa Bargeld, inspired by Antonin Artaud and an enthusiasm for amphetamines, also originated an art movement called Die Genialen Dilettanten.[75] Bargeld is particularly well known for his hissing scream.[75]

In January 1984, Einstürzende Neubauten performed a Concerto for Voice and Machinery at the Institute of Contemporary Arts (the same site as COUM's Prostitution exhibition), drilling through the floor and eventually sparking a riot.[76] This event received front-page news coverage in England.[76] Other groups who practiced a form of industrial "metal music" (that is, produced by the sounds of metal crashing against metal) include Test Dept,[77] Laibach,[78] and Die Krupps, as well as Z'EV and SPK.[53] Test Dept were largely inspired by Russian Futurism and toured to support the 1984-85 UK miners' strike.[79] Skinny Puppy embraced a variety of industrial forefathers and created a lurching, impalatable whole from many pieces. Swans, from New York City, also practiced a metal music aesthetic, though reliant on standard rock instrumentation.[80] Laibach, a Slovenian group who began while Yugoslavia remained a single state, were very controversial for their iconographic borrowings from Stalinist, Nazi, Titoist, Dada, and Russian Futurist imagery, conflating Yugoslav patriotism with its German authoritarian adversary.[81] Slavoj Žižek has defended Laibach, arguing that they and their associated Neue Slowenische Kunst art group practice an overidentification with the hidden perverse enjoyment undergirding authority that produces a subversive and liberatory effect.[82] In simpler language, Laibach practiced a type of agitprop that was widely utilized by industrial and punk artists on both sides of the Atlantic.

Following the breakup of Throbbing Gristle, P-Orridge and Christopherson founded Psychic TV and signed to a major label.[83] Their first album was much more accessible and melodic than the usual industrial style, and included hired work by trained musicians.[84] Later work returned to the sound collage and noise elements of earlier industrial.[85] They also borrowed from funk and disco. P-Orridge also founded Thee Temple ov Psychick Youth, a quasi-religious organization that produced video art.[86] Psychic TV's commercial aspirations were managed by Stevo of Some Bizzare Records, who released many of the later industrial musicians, including Einstürzende Neubauten, Test Dept, and Cabaret Voltaire.[87]

Around 1983, Cabaret Voltaire members were deeply interested in funk music and, with the encouragement of their friends from New Order, began to develop a form of dark but danceable electrofunk.[88] Christopherson left Psychic TV in 1983 and formed Coil with John Balance. Coil made use of gongs and bullroarers in an attempt to conjure "Martian," "homosexual energy".[89] David Tibet, a friend of Coil's, formed Current 93, alongside Douglas P. of Death In June, Steven Stapleton and Fritz Catlin of 23 Skidoo; both Coil and Current 93 were inspired by amphetamines and LSD.[90] J. G. Thirlwell, a co-producer with Coil, developed a version of black comedy in industrial music, borrowing from lounge as well as noise and film music.[91] In the early 1980s, the Chicago-based record label Wax Trax! and Canada's Nettwerk helped to expand the industrial music genre into the more accessible electro-industrial and industrial rock genres.[54]

Proliferation (Late 1980s-1990s)

[edit]
See also: Industrial rock and Wax Trax! Records

Chicago record label Wax Trax! Records was prominent in the widespread attention industrial music received starting in the early 1980s. The label was started by Jim Nash and Dannie Flesher. The label's first official release was an EP in 1980 entitled Immediate Action by Strike Under. The label went on to distribute some of the most prominent names in industrial throughout the 1980s and 1990s. Wax Trax! also distributed industrial releases in the United States for the Belgium record label Play It Again Sam Records, and had opened a North American office dubbed Play It Again Sam U.S.A. as a division of Wax Trax!

Wax Trax! was subsequently purchased by TVT Records in 1992 who closed the independent Chicago label in 2001. Jim's daughter, Julia Nash, resurrected Wax Trax! Records in 2011 with a 3-day charity event titled Wax Trax! Retrospectacle - 33 1/3 Year Anniversary. Julia officially released new material in 2014 under the Wax Trax! imprint and continues to run the record label from Chicago.

Electro-industrial group Front Line Assembly

As some of the originating bands drifted away from the genre in the 1980s, industrial music expanded to include bands influenced by new wave music, hip hop music, jazz, disco, reggae, and new age music, sometimes incorporating pop music songwriting.[92] A number of additional styles developed from the already eclectic base of industrial music. These offshoots include fusions with noise music, ambient music, folk music, post-punk and electronic dance music, as well as other mutations and developments. The scene has spread worldwide, and is particularly well represented in North America, Europe, and Japan. Substyles inspired by industrial music include dark ambient, power electronics, Japanoise, neofolk, electro-industrial, electronic body music, industrial hip hop, industrial rock, industrial metal, industrial pop, martial industrial, power noise, and witch house.

Mainstream success (1990s and 2000s)

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Ministry's Al Jourgensen and Nine Inch Nails' Trent Reznor

In the 1990s, industrial music broke into the mainstream. The genre, previously ignored or criticized by music journalists, grew popular with disaffected middle-class youth in suburban and rural areas. By this time, the genre had become broad enough that journalist James Greer called it "the kind of meaningless catch-all term that new wave once was".[93] A number of acts associated with industrial music achieved commercial success during this period including Nine Inch Nails, Marilyn Manson, Rammstein and Orgy.

Marilyn Manson and his band, and Rob Zombie prominently used elements associated with industrial music in their albums.

Through the 1990s, Nine Inch Nails and Marilyn Manson had several albums and EPs certified platinum by the Recording Industry Association of America (RIAA), including Nine Inch Nails' Broken (1992),[94] The Downward Spiral (1994)[95] and The Fragile (1999)[96], and Marilyn Manson's Antichrist Superstar (1996)[97] and Mechanical Animals (1998).[98]

See also

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Footnotes

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  1. ^ Fisher, Mark (2010). "You Remind Me of Gold: Dialogue with Simon Reynolds". Kaleidoscope (9).
  2. ^ a b "Industrial". AllMusic. All Media Network. Retrieved May 5, 2017.
  3. ^ V.Vale. Re/Search #6/7: Industrial Culture Handbook, 1983.
  4. ^ Starkey, Arun (September 10, 2024). "What does 'industrial' music actually mean?". Far Out magazine. Retrieved February 20, 2025.
  5. ^ Nicolas Ballet, Shock Factory: The Visual Culture of Industrial Music. Intellect Books, pp. 17-20
  6. ^ "... journalists now use 'industrial' as a term like they would 'blues.'"—Genesis P-Orridge, RE/Search #6/7, p. 16.
  7. ^ "Industrial". Oxford English Dictionary (Online ed.). Oxford University Press. (Subscription or participating institution membership required.)
  8. ^ Henahan, Donal (April 4, 1972). "Limned the Landscape". The New York Times: 46. Retrieved November 17, 2018.
  9. ^ a b Brown, Barclay (1981). "The Noise Instruments of Luigi Russolo". Perspectives of New Music. 20 (1/2): 31–48. doi:10.2307/942398. JSTOR 942398.
  10. ^ a b The Secret History of Rock: The Most Influential Bands You've Never Heard by Roni Sarig
  11. ^ RE/Search #6/7, pp. 9–10.
  12. ^ a b "Industrial Records: Industrial Music for Industrial People". Brainwashed Inc. Retrieved April 16, 2010.
  13. ^ a b Reynolds 2005, p. 168.
  14. ^ Reynolds 2005, p. 170.
  15. ^ a b Reynolds 2005, p. 230.
  16. ^ a b RE/Search #6/7, p. 5.
  17. ^ Ford, 8.10
  18. ^ Reynolds 2005, p. 228.
  19. ^ Reynolds 2005, pp. 169–170.
  20. ^ a b c Reynolds 2005, p. 227.
  21. ^ Reynolds 2005, p. 235.
  22. ^ RE/Search #6/7, p. 9.
  23. ^ "These ideas contributed some of the theoretical mise-en-scène for emergent Industrial groups such as Throbbing Gristle, SPK, and Cabaret Voltaire, all of whom experimented with cut-up sound and re-contextualised ambient recordings." Sargeant, Jack, "The Primer: William S. Burroughs," The Wire 300, February 2009, p. 38.
  24. ^ RE/Search #6/7, p. 105
  25. ^ Webb, Peter (2007). "Neo-Folk or Postindustrial Music". Exploring the Networked Worlds of Popular Music. Psychology Press. p. 80. ISBN 978-0-415-95658-1. Retrieved January 30, 2011.
  26. ^ Thompson, Dave (2000). "Industrial Records". Alternative Rock. Hal Leonard Corporation. p. 780. ISBN 978-0-87930-607-6. Retrieved January 30, 2011.
  27. ^ "Uneasy listening | The Guardian | guardian.co.uk". www.theguardian.com. Retrieved July 27, 2025.
  28. ^ Olewnick, Brian. "Ammmusic Review by Brian Olewnick". AllMusic. Retrieved August 23, 2022.
  29. ^ Henderson, Alex. "Orgasm Review by Alex Hederson". AllMusic. Retrieved August 23, 2022.
  30. ^ "KLUSTER - Forced Exposure". www.forcedexposure.com. Retrieved May 2, 2023.
  31. ^ Segal, Dave (September 3, 2007). "What Is It? Krautrock". XLR8R. Retrieved July 27, 2025.
  32. ^ a b Monroe, p. 212
  33. ^ Wilde, Jon (July 31, 2008). "'Every night I thought I'd be killed'". The Guardian. ISSN 0261-3077. Retrieved July 28, 2025.
  34. ^ Petridis, Alexis (July 18, 2016). "Suicide's Alan Vega: a punk pioneer who shoved the streets back in people's faces". The Guardian. ISSN 0261-3077. Retrieved July 28, 2025.
  35. ^ Berman, Stuart (July 18, 2016). "15 Songs Indebted to Suicide's Alan Vega". Pitchfork. Retrieved July 28, 2025.
  36. ^ Petrusich, Amanda (September 17, 2007). "Interviews: Lou Reed". Pitchfork. Archived from the original on August 23, 2011. Retrieved April 16, 2010.
  37. ^ Slotnik, Daniel E. (November 3, 2018). "Hardy Fox, of the Avant-Garde Band the Residents (Maybe), Dies at 73". New York Times. Retrieved April 27, 2020.
  38. ^ RE/Search #6/7, p. 97–105.
  39. ^ Reynolds 2005, pp. 154–155, 171.
  40. ^ a b Reynolds 2005, p. 242.
  41. ^ Reynolds, Simon (April 7, 2009). "Sonic Youth are caught under the influence". The Guardian. Guardian News and Media Limited. Retrieved October 28, 2009.
  42. ^ RE/Search #6/7, p. 11–12.
  43. ^ RE/Search #6/7, p. 19.
  44. ^ Reynolds 2005, p. 225.
  45. ^ "Faust". All Media Guide. Retrieved March 1, 2010.
  46. ^ says, M. (April 10, 2008). "Klaus Dinger : 1946-2008". Aquarium Drunkard. Retrieved November 26, 2023.
  47. ^ a b c Reynolds 2005, p. 226.
  48. ^ RE/Search #6/7, p. 67.
  49. ^ RE/Search #6/7, p. 117
  50. ^ Reynolds 2005, pp. 154, 159.
  51. ^ Reynolds 2005, p. 156.
  52. ^ a b Reynolds 2005, p. 243.
  53. ^ a b Reynolds 2005, p. 485.
  54. ^ a b Kilpatrick, Nancy. The Goth Bible: A Compendium for the Darkly Inclined. New York: St. Martin's Griffin, 2004, ISBN 0-312-30696-2, p. 86.
  55. ^ a b "Industrial Records". Brainwashed. Retrieved October 28, 2009.
  56. ^ RE/Search #6/7, p. 42–49.
  57. ^ RE/Search #6/7, p. 50–67.
  58. ^ Reynolds 2005, p. 224.
  59. ^ a b c RE/Search #6/7, p. 17.
  60. ^ Reynolds 2005, p. 229.
  61. ^ a b Reynolds 2005, p. 240.
  62. ^ Ankeny, Jason. "Clock DVA Biography". AllMusic. Rovi Corporation. Retrieved October 28, 2009.
  63. ^ Torreano, Bradley. "Nocturnal Emissions Biography". AllMusic. Rovi Corporation. Retrieved October 28, 2009.
  64. ^ Schaefer, Peter. "Whitehouse Biography". AllMusic. Rovi Corporation. Retrieved October 28, 2009.
  65. ^ Reynolds 2005, p. 241.
  66. ^ RE/Search #6/7, pp. 92–105.
  67. ^ Reynolds 2005, pp. 241–242.
  68. ^ Reynolds 2005, pp. 243–244.
  69. ^ Sutton, Michael. "Leather Nun Biography". AllMusic. Rovi Corporation. Retrieved October 28, 2009.
  70. ^ RE/Search #6/7, p. 2.
  71. ^ RE/Search #6/7, pp. 68–81.
  72. ^ RE/Search #6/7, pp. 50–67.
  73. ^ Torreano, Bradley. "Maurizio Bianchi Biography". AllMusic. Rovi Corporation. Retrieved October 28, 2009.
  74. ^ Huey, Steve. "Einstürzende Neubauten Biography". AllMusic. Rovi Corporation. Retrieved October 28, 2009.
  75. ^ a b Reynolds 2005, p. 484.
  76. ^ a b Reynolds 2005, p. 486.
  77. ^ Bush, John. "Test Dept. Biography". AllMusic. Rovi Corporation. Retrieved October 27, 2009.
  78. ^ Monroe, p. 222.
  79. ^ Reynolds 2005, p. 489.
  80. ^ Reynolds 2005, p. 487.
  81. ^ Monroe, p. 96.
  82. ^ Slavoj Žižek, "Why Are Laibach and NSK Not Fascists?," M'ARS 3–4, 1993, pp. 3–4.
  83. ^ Reynolds 2005, p. 474.
  84. ^ Reynolds 2005, pp. 474–475.
  85. ^ Reynolds 2005, pp. 480–481.
  86. ^ Reynolds 2005, p. 476.
  87. ^ Reynolds 2005, p. 477.
  88. ^ Reynolds 2005, p. 478.
  89. ^ Reynolds 2005, pp. 481–482.
  90. ^ Reynolds 2005, p. 482.
  91. ^ Reynolds 2005, p. 483.
  92. ^ Woods, Karen (March 1992). "Industrial Index". Spin. Vol. 7, no. 12. p. 43.
  93. ^ Greer, Jim (March 1992). "Nine Inches of Love". Spin. Vol. 7, no. 12. pp. 36–43.
  94. ^ "American album certifications – Nine Inch Nails – Broken". Recording Industry Association of America.
  95. ^ "American album certifications – Nine Inch Nails – The Downward Spiral". Recording Industry Association of America.
  96. ^ "American album certifications – Nine Inch Nails – The Fragile". Recording Industry Association of America.
  97. ^ "American album certifications – Marilyn Manson – Antichrist Superstar". Recording Industry Association of America.
  98. ^ "American album certifications – Marilyn Manson – Mechanical Animals". Recording Industry Association of America.

References

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