Death Industrial

from Wikipedia, the free encyclopedia
Death Industrial

Development phase: Late 1980s
Place of origin: Sweden
Stylistic precursors
Industrial , dark wave
Pioneers
Brighter Death Now , MZ.412 , Megaptera
Instruments typical of the genre
Synthesizer , sampler , percussion

Death Industrial , sometimes referred to as Doom Industrial , is a music subgenre that is classified as post-industrial . The genre originated in Sweden in the late 1980s.

history

The genre initiating project Brighter Death Now at the Nocturnal Culture Night in 2018

At the end of the 1980s and the beginning of the 1990s, mostly new, previously unknown artists merged elements and ideas of industrial with style facets that came from the Gothic scene . Marcus Stiglegger counts the Death Industrial created around the label Cold Meat Industry among them . The name was first introduced by Roger Karmanik for his project Brighter Death Now and was soon extended to other performers of the Karmanik-led label Cold Meat Industry, such as In Slaughter Natives , Maschinenzimmer 412 and Megaptera . The label quickly developed "into one of the most important labels in the post-industrial and dark-ambient scene". In addition to the releases of Brighter Death Now, the music of Megaptera is an important contribution to the spread of the term and to the success of the label and genre. This was "significantly involved" in Karmanik's transfer of the name "to other projects" of his label. The characteristic sound of Cold Meat Industry that emerged in this way was soon picked up by other artists who were not under contract with the Swedish label. Such interpreters were nevertheless associated with the label in their reception. As a result, descriptions like CMI-Klang, Death Industrial and Doom Industrial soon came into use regardless of the label. Companies like the American label Malignant Records or the Swedish BelATING became popular for releases of the genre, even after the Cold Meat Industry business was closed, and kept the death industrial active.

In addition, Extreme Metal labels occasionally try to develop the genre. Meanwhile, not every label could find favor with it in the metal scene . The releases of Goatpsalm and Black Depths Gray Waves , published by Aesthetic Death Records , failed to convince the metal press reviewers. The music was judged by them to be incomprehensible, derogatory.

Due to the limited possibilities of musical expression and the radical nature of the sound, the death industrial remained a niche phenomenon, even in relation to other style variants of the post-industrial.

Style classification

In Slaughter Natives at Nocturnal Culture Night 2019

Many of the performers assigned to the genre show similarities in content and aesthetics beyond their musical orientation. Under the common theme of individualism , representatives of the genre often deal with similar topics that serve to explore the self or to irritate the individual. Such topics include satanism , occultism , violence , absolutism , sexuality and disease .

Stylistic overlaps and personal connections are named for Ritual , Neofolk and Power Electronics . Common cultural origins are cited for ritual, neofolk and martial industrial .

music

Performers such as Maschinenzimmer 412, here band member Nordvargr with Poppée Fabrikk 2017, expanded the sound of Death Industrial to include musical forms of expression that were alien to the style

Stiglegger describes Death Industrial as an example of the mixing of " Gothic music with Industrial , from which [...] different phenomena arose". In the case of death industrial, this connection resulted in a dark, sluggish form of post-industrial with a "emphatically apocalyptic sound".

The style shows noticeable parallels to Power Electronics , but differs from it in the reduced tempo and the emphasis on an atmospheric apocalyptic overall sound. A characteristic feature of the genre is an earthy “ catacomb sound” , “sluggishly pounding beats over claustrophobic atmosphere sounds” such as distortion , echo , reverb or delay . This sound is enhanced by frequent sampling . Voices, machine noises, bells and sacred chants are mostly used as recorded samples.

Performers associated with the genre expanded their style at an early stage and combined the characteristics of death industrial with other musical stylistic devices, just as the style of performers from other musical styles was added to expand their own soundscape. Ordo Rosarius plays Equilibrio Death Industrial with Neofolk , Maschinenzimmer 412, Abruptum and Goatpsalm with Black Metal and The Austrasian Goat with Funeral Doom . In particular, the hybridization with black metal emanating from machine room 412 was welcomed and promoted by both sides of development.

content

As common content, performers such as Ordo Rosarius Equilibrio, here at the Amphi Festival in 2011 , and other representatives of the genre refer to an absolute individualism

Judith Platz, Megan Balanck and Alexander Nym subsume the death industrial with variants of the electro and the post-industrial to a music spectrum with common cultural, aesthetic and content reference points. The products in this spectrum are "rebellious, non-conformist to aggressive" with a tendency towards the end times mood . The contents refer to taboos such as "sexual deviance, torture, mass (murder), perversions, etc." and thus fall back on systematic shocking and irritation in line with the industrial. Critics describe the approach as an "unreflected to affirmative" presentation, while supporters call it a critical decoding and deconstruction of social control mechanisms and reflection on oneself.

Some interpreters of Death Industrial like Ordo Rosarius Equilibrio and Maschinenzimmer 412 refer to an atheistic Satanism in a social Darwinist interpretation. The members of machine room 412 refer to Satanism and relate it to the theorem of the “ survival of the fittest ” and a higher level of individualism . Tomas Pettersson from Ordo Rosarius Equilibrio suggests similar references to Satanism and propagates "a natural selection [...] beyond the limitation of ethnicity " and "individuality" as the "only possibility" of social coexistence. Other interpreters of the genre also propagate individualism to the point of a complete rejection of social values. The Swedish band The Gray Wolves , named after the right-wing extremist organization Gray Wolves , describes their “glorification of the power of the individual” as “cultural terrorism”. To do this, the group uses bold slogans and the "representation of violence, terrorism and fascism ."

The group Maschinenzimmer 412 also makes reference to shamanism and in ritual recording sessions resorted to archaic instruments, including drums made from human bones .

Culture

Death Industrial does not have an independent scene with its own cultural characteristics. The music audience is mainly composed of followers of post-industrial , electro and dark wave , especially neofolk .

Popular performers

literature

Individual evidence

  1. ↑ a b c Marcus Stiglegger: Industrial . In: Thomas Hecken, Marcus S. Kleiner (Hrsg.): Handbuch Popkultur . JBMetzler, Stuttgart 2017, ISBN 978-3-476-05601-6 , pp. 97-101, here p. 99 .
  2. ^ A b Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 340 .
  3. ↑ a b Michael We: Megaptera: Extended Chaos. nonpop.de, accessed on July 27, 2020 .
  4. ↑ Andreas Plögger: Brighter Death Now: Necrose Evengelium Re-Release. terrorverlag, accessed on July 27, 2020 .
  5. ^ A b c Richard Stevenson: Spectrum Compendion . Headpress, London 2019, ISBN 978-1-909394-62-9 , pp. 17-21 .
  6. ^ A b c Marco Fiebag: Michael Idehall: Prophecies Of The Storm. Black Magazine, accessed July 27, 2020 .
  7. ↑ Falk: Black Depths Gray Waves: Nightmare Of The Blackened Heart. metal.de, accessed on July 27, 2020 .
  8. ↑ a b c Velvet: Goatpsalm: Erset la Tari. (No longer available online.) Metal District, archived from the original on December 12, 2016 ; accessed on December 12, 2016 .
  9. ↑ a b c Judith Platz, Megan Balanck, Alexander Nym: Black Subgenres and Styles . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 144–181, here 162 f .
  10. ↑ OccultBlackMetal: Goatpsalm Interview. hatred means war zine, accessed July 27, 2020 .
  11. ^ Andreas Schulz: Goatpsalm: Erset la Tari. Music reviews, accessed July 27, 2020 .
  12. ^ Richard Stevenson, Spectrum Compendion . Headpress, London 2019, ISBN 978-1-909394-62-9 , pp. 33-35 .
  13. ↑ a b Hans Wanders: The Wonderful and frightening World of… In: Andreas Speit (Ed.): Aesthetic mobilization. Dark Wave, Neofolk and Industrial in the field of tension of right-wing ideologies. Unrast Verlag, 2002, ISBN 3-89771-804-9 , p. 23–64, here 43 .
  14. ↑ Carla Mureck: Hell is there . In: Andrea Hoffmann, Kim Riemann (ed.): Score of dreams . Bankruptcy Book, 1990, ISBN 978-3-88769-225-4 , pp. 127–149, here 139 ff .
  15. ^ Andreas Diesel, Dieter Gerten: Looking For Europe . 2nd Edition. Index, 2007, ISBN 978-3-936878-02-8 , pp. 341 .