Industrial rock

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Industrial rock / metal

Development phase: second half of the 1980s
Place of origin: USA · Canada · England
Stylistic precursors
Hardcore Punk · Noise-Rock · Thrash Metal · Post-Industrial · Electro-Industrial · EBM
Instruments typical of the genre
Guitar · Bass · Sequencer · Sampler · synthesizer · drum machine

Industrial rock and industrial metal (sometimes also called industrial hardcore ) denote varieties of rock music that emerged in the second half of the 1980s by superimposing hardcore punk , noise rock and thrash metal with stylistic elements of post-industrial music. the opening from both directions, d. H. both from rock and from the post-industrial environment. The boundaries between industrial rock and industrial metal are fluid, an exact separation is not possible due to stylistic overlaps.

Stylistic features

Industrial rock is characterized by the use of rhythm guitars and repetitive electronic arrangements ( sequencer lines), which gives the music a technical touch. Short, concise riffs (especially fast, sometimes dissonant riffs based on hardcore punk and noise rock or "machine gun riffs" borrowed from Thrash Metal using the palm mute technique) form the basis of numerous titles. The hardness is achieved through the use of power chords (distorted by means of distortion and overdrive effects) . The compositions are usually kept straightforward and minimalist; Lead guitars , guitar solos and associated playing techniques such as shredding are atypical for the genre (characteristic of hardcore punk). Likewise, bass guitars only play a subordinate role. In the field of classical rock music, the electric bass is often used as a rhythm-accentuating instrument. In industrial rock, a sequencer takes on this task in many cases.

The compositions are often enriched with samples (especially from films, television news, police and radio recordings, as well as loops such as machine noises , submarine alarms and police sirens ) - similar to early industrial , but in which tape loops were used or machine-like noises live Were "brought in". The vocals are heavily alienated electronically, often shouting or screaming chanting ("shouts") with reverb , but sometimes death growls as well. Clear, melodic vocal lines are alien to the genre with a few exceptions. Drummers are commonly replaced by drum machines. On the other hand, many bands use “live drumming” for the sound, which means that the overall picture remains in the classic rock style.

“ On the one hand there is a not inconsiderable [post] industrial influence, which manifests itself in various sound effects and a hammering, sampled drums, which real metal fans should have a lot of difficulties with. On the other hand, brutal hardcore / metal guitars and extremely rough vocals dominate. Normally I'm an enemy of any monotony - with Ministry, who often limit themselves to only two riffs per song and do without guitar solos, elaborate breaks etc., it comes across as awesome because the compactness and heaviness are only emphasized. "

- Holger Stratmann, founder and editor of the music magazine Rock Hard , 1990

The SPIN Magazine described the genre in October 1991 in a similar manner as "a cross-hybridization of industrial dance rhythms with hardcore guitar riffs and a furious, violent energy."

Although many industrial rock / metal bands were influenced by classic industrial representatives such as Throbbing Gristle , SPK or Cabaret Voltaire , the use of sequencers and samplers was not until the post-industrial / electro-industrial movement of the mid-1980s Years of a wider mass possible. Both tonally and in terms of production, industrial rock / metal is therefore associated with styles from this era, such as electronic body music and North American electro-industrial (both styles were grouped under the collective name "industrial dance" in the United States and Canada, see quote ), related and therefore not a direct offshoot of industrial music. This relationship between American electro-industrial and industrial rock / metal music is underpinned by the closeness to Rivethead culture: followers of both styles of music often belonged to the same scene in North America.

Comparable to the stylistically related genres of hardcore punk, thrash metal and electro-industrial, industrial rock deals with topics critical of society, the system, the media and religion. Often social grievances or political misconduct, but also dystopian visions of the future are discussed.

history

Thought leader

The development of industrial rock / metal was mainly driven by artists from the post-industrial environment, especially by European groups such as Cabaret Voltaire and Einstürzende Neubauten . After their industrial phase at the end of the 1970s / beginning of the 1980s, Cabaret Voltaire devoted themselves more and more to rock- oriented sound patterns and recorded a hit with the song Nag Nag Nag . The Einstürzende Neubauten first used the guitar as a conventional sound generator on their 1985 work Halber Mensch , while the Swiss band The Young Gods worked almost exclusively with samplers and guitar loops and at the same time anticipated the characteristic sound of industrial rock.

In the USA, the pioneering status comes in particular from the noise rock / punk band Big Black , the no-wave formation Swans and the post-industrial musician JG Thirlwell alias Foetus. Big Black from Chicago had been experimenting with a Roland TR-606 drum computer since 1982 and created another prototype of industrial rock with songs like Texas , Jump the Climb and Jordan, Minnesota . In the first half of the 1980s, the New Yorker Swans created experimental, sometimes clumsy rock compositions that served as models for groups like Godflesh and Pitchshifter . JG Thirlwell already used elements in his works Hole (1984) and Nail (1985) that bands like Nine Inch Nails and the Revolting Cocks later took up in their music. His 1988 work Thaw in particular is a significant basic model of the genre alongside Ministry's The Land of Rape and Honey .

development

Ministry is considered to be the main initiator of the industrial rock movement . After the band took their first steps in the electronics environment in the first half of the 1980s, they released their third album The Land of Rape and Honey in 1988 , which was due to the fusion of hardcore punk riffs, staccato rhythms and influences from EBM and electro -Industrial was style-defining for the industrial rock environment.

" [...] Ministry have become synonymous with Industrial Metal. Their abrasive, intense and clattering sound [...] influenced scores of artists. […] The Land of Rape and Honey (1988), released on Sire Records , was the start of the revolution, an unholy combination of guitar, machine and ear-scalding distortion. The new focus was pushed even further with The Mind Is a Terrible Thing to Taste (1989). "

- Essi Berelian, The Rough Guide to Heavy Metal, 2005

Similar projects from the Ministry area were Pailhead ( Trait , 1988), a cooperation between Ministry and Fugazi , the 1000 Homo DJs ( Apathy , 1988), a joint project by Ministry, Jello Biafra ( Dead Kennedys ) and Trent Reznor ( Nine Inch Nails ), the band Lard ( Power of Lard , 1989), a cooperation between Ministry and Jello Biafra, and the Revolting Cocks ( Beers, Steers + Queers , 1990), in which Phil Owen was a singer. The following year Owen founded the Skatenigs , which played a mixture of industrial rock, punk and rap interludes, and produced the debut of the industrial rock formation Skrew ( Burning in Water, Drowning in Flame , 1992).

Together with Nivek Ogre ( Skinny Puppy ), Ministry toured the United States and Canada in 1989/90. The two bands worked together on the 1989 Skinny Puppy album Rabies , on which Ministry head Al Jourgensen contributed the guitar parts and the supporting voice and which can be seen as another pioneer of the genre. Nine Inch Nails debuted in 1989 with Pretty Hate Machine . The opener Head Like a Hole hit the Billboard charts; a corresponding video clip was broadcast in heavy rotation on MTV . At the same time, the album Christmeister by the Canadian band Numb was released , which offered a clearly punk-influenced form of industrial rock. KMFDM turned to the genre with the works UAIOE (1989) and Naïve (1990), but did not completely dispense with the use of guitar samples (for example, they used a "high-pitched sample" from Slayer's Angel of Death for the title Godlike ) . Members of the US post-industrial formation Controlled Bleeding started the side projects Joined at the Head ( Joined at the Head , 1990) and Skin Chamber ( Wound , 1991), and Diatribe from California released their first mini-album, Therapy , in 1991 , whose theme song was used in the science fiction film Strange Days . With Pigface ( Gub , 1991) the first “industrial rock supergroup” was formed with members from Ministry, Skinny Puppy, Nine Inch Nails, KMFDM and the Revolting Cocks. However, the genre only attracted greater attention with Ministry's 1992 work Psalm 69 . This album was groundbreaking for numerous subsequent music projects in the rock, EBM and electro-industrial environment.

“ Industrial metal is the next thing in the US, that much seems certain. Ministry are on the verge of superstar status and bands like Skrew could soon follow suit. The ingredients are the same: hard and fat guitars, monotonous and cold synth rhythms, rattling and distorted vocals. "

- Frank Albrecht, editor of the music magazine Rock Hard , 1992

However, the opening did not only take place on the part of the electronics sector. The group Dessau ( Exercise in Tension , 1989) still played post-punk in the style of Joy Division in the mid-1980s . Malhavoc ( The Release , 1990), who, along with Dogpile ( Blag Flag , 1992), were among the earliest representatives of Industrial Metal in Canada, originally came from the Thrash Metal scene and were featured on their 1986 demo tape Age of the Dark Renaissance by Inspire industrial sounds. At around the same time, Godflesh ( Streetcleaner , 1989), Sonic Violence ( Jagd , 1990), Mordor (1990: Odes ) and Pitchshifter ( Industrial , 1991) in Great Britain developed an experimental and sluggish variant of industrial rock / metal and thus offered a counterpart to American sludge movement. Groups such as Drill ( Skin Down , 1991), Bomb Everything ( The All Powerful Fluid , 1992) and Optimum Wound Profile ( Lowest Common Dominator , 1992) from the extreme noise terror environment, meanwhile, took the opposite path of their compatriots and oriented themselves of fast punk and industrial rock in the style of Ministry. Mitch Harris of Napalm Death founded the industrial metal formation Meathook Seed ( Embedded , 1993), which also included members of Obituary (Trevor Peres, Donald Tardy ), while the American band OLD was already on the album, which was released two years earlier Lo Flux Tube brought the combination of hard guitars and computer sounds to extremes by combining it with a thrash - and black metal- like screeching vocals . The New York bands Brainchild ( Mindwarp , 1992) and Circle of Dust ( Circle of Dust , 1992) as well as the Californians Chatterbox ( Despite , 1994) and Drown ( Hold On to the Hollow ) also came from the thrash metal and hardcore environment , 1994).

Chicago (especially the Wax-Trax! Environment), California and the Boswash Area became the centers of the movement in the USA .

Heyday

In 1993–1996 there was an industrial rock boom. Numerous newcomers, such as Schnitt Acht ( Slash and Burn , 1993), Soulstorm ( Darkness Visible , 1993), Meat Machine ( Slug , 1993), STG ( No Longer Human , 1993), Virus-23 ( Virus-23 , 1993), Puncture ( Puncture , 1994), Blow ( Fleshmachine , 1994), Penal Colony ( Put Your Hands Down , 1994), Insight 23 ( Obsess , 1995), Killing Floor ( / dev / null , 1995), Slave Unit ( slave unit , 1996), Revolter ( Datamerica , 1996), Purge ( You Know You Want To , 1996) and Solar Junkies ( Silent War with Quiet Weapons , 1997), but also established artists such as The Cassandra Complex ( Sex & Death , 1993), Shotgun Messiah ( Violent New Breed , 1993), Killing Joke ( Pandemonium , 1994) and White Zombie ( Astro-Creep: 2000 , 1995) briefly turned to the trend and then disappeared into oblivion.

Pouppée Fabrikk from Sweden left their EBM phase behind them with the album We Have Come to Drop Bombs in 1993 and found technical production support from Tomas Skogsberg , who was responsible for the albums of the metal bands Dismember , Therion , Amorphis and in Stockholm's Sunlight Studios Entombed is responsible. The American band Chemlab followed a similar path and worked with rhythm guitars for the first time on the album Burn Out at the Hydrogen Bar . The German wave / rock formation The Fair Sex founded the side project Testify ( Testify , 1993) and expanded the soundscape created by Ministry to include more dynamic Thrash Metal riffs.

“ If The Fair Sex has always been a band that musically consistently fought against the often propagated separation of electronic instruments and guitars, Testify radicalize this idea by using metallic aggression, industrial noise elements, influences from EBM and a sometimes almost exaggerated one Mixing punk speed. "

- Timo Hoffmann, journalist for the music magazine Zillo , 1995

With Coptic Rain ( Dies Irae , 1993) and the Genitorturers ( 120 Years of Genitorture , 1993) female vocals were also used. The Canadian electro-industrial band Front Line Assembly signed a contract with Roadrunner and followed in 1994 with Millennium , the hardest work of the two-man project to date, on which - in addition to the use of samples - Strapping Young Lad front man Devin Townsend as guitarist participated.

The influence of Front Line Assemblies was also felt at Fear Factory , whose 1993 maxi EP Fear is the Mindkiller they completely remixed. Inspired by this work, Fear Factory tried to jump on the already waning industrial metal wave with their 1995 album Demanufacture . In particular, the titles New Breed (Revolutionary Designed Mix) and Flashpoint make the rapprochement with the genre clear. Although Skinny Puppy built rock elements into their music as early as the late 1980s and thus belonged to the pioneering groups in the genre, they only dared to take the step in this direction in 1995 and released an industrial rock album with Process . Filter , meanwhile, made his debut with Short Bus and benefited from Richard Patrick's past as a guitarist with Nine Inch Nails.

Other important representatives of the genre were 16 Volt ( Wisdom , 1993), Treponem Pal ( Excess & Overdrive , 1993), The Electric Hellfire Club ( Burn, Baby, Burn , 1993), Peace, Love and Pitbulls ( Red Sonic Underwear , 1994) , Stabbing Westward ( Ungod , 1994), Acumen ( Transmissions from Eville , 1994), Hate Dept. ( Meat.Your.Maker , 1994), Red Harvest ( There's Beauty in the Purity of Sadness , 1994), Bile ( Suckpump , 1994), Meathead ( Bored Stiff , 1994), Monster Voodoo Machine ( Suffersystem , 1994), Misery Loves Co. ( Misery Loves Co. , 1995), Idiot Stare ( Blinded , 1995), 13 mg. ( Trust and Obey , 1995), Rorschach Test ( Unclean , 1996), Unit: 187 ( Unit: 187 , 1996), Fracture ( Killernet , 1996), Under the Noise ( Of Generation and Corruption , 1996), Nihil ( Drown , 1996) and Skold ( Skold , 1996), a solo project by Shotgun Messiah bassist Tim Skold.

In addition to the aforementioned Pouppée Fabrikk and Front Line Assembly, other bands from the electro field began to use elements of industrial rock for their own purposes in this era , including the Leæther Strip side project Klute ( Excluded , 1992), Yeht Mae ( Anatomy , 1992), Psychopomps ( Pro-Death Ravers , 1993), Sielwolf ( Nachtstrom , 1993), Spahn Ranch ( Collateral Damage , 1993), Front 242 ( Fuck Up Evil , 1993), 29 Died ( Sworn , 1995), Luxt ( Jezabel Thirteen Three , 1996), Waiting for God ( Quarter Inch Thick , 1996) and Terminal Sect ( Bread and Wine for the Dirt , 1997). Many of these groups either had the guitars recorded for individual tracks or resorted to guitar samples in the style of the Young Gods and Swamp Terrorists in order to create a sound image corresponding to the genre.

“ Ministry is a good comparison, because they work in a similar way to ours: They just take whatever influences they like, whether they are European or American, synthetic or guitar-specific, and put them together the way they want. These guys learned damn quickly to process our influences. […] But now we come, after we have let their music work on us, and give them back our interpretation. The influencing occurs reciprocally. "

- Daniel Bressanutti, Front 242, 1993

Decline

In the second half of the 1990s, the genre lost its importance. Leading figures like Ministry and Nine Inch Nails only released new albums at long intervals or changed their characteristic style. Most of those who acted outside the mainstream had split up after only two albums or specialized in the fusion of rock and electronica / dance components (mainly breakbeat , drum & bass and techno rhythms) and thus specialized Hardly any space left for the genre-defining electro-industrial / EBM elements.

As early as 1995, the music media predicted that the great days of industrial rock were over. In 1996, the sociologist David A. Locher criticized the lack of suitable junior research groups and the failure to establish an independent industrial rock subculture. Few bands, such as Leech Woman ( 33 ° , 1997), Division Alpha ( Fazium One , 1999), Chainsaws.and.Children ( .Daca. , 2000), Sulpher ( Spray , 2002), Panic DHH ( Panic Drives Human Herds , 2004) and Betty X ( Memoirs of a Pain Junkie , 2006) attempted to maintain the style in the years that followed - but with no significant success.

“ Industrial metal is a genre that flourished in the early to mid-1990s and spewed out a number of marvels. It's also a genre that has been groping in death spas for some time, and only one or two successful releases a year prevent it from scraping off. "

- Wolf-Rüdiger Mühlmann, author and journalist for the music magazine Rock Hard , 1999

Most of the record companies, such as Fifth Colvmn Records, 21st Circuitry and Re-constriction, which dedicated themselves to the genre in the 1990s, had their label work between 1997 and 2000. The music magazine Rock Hard stated in 2001: "What once looked like the future of rock music is unfortunately only a thin branch in the rock'n'roll family tree."

reception

The genre did not achieve widespread popularity. Although a few groups like Nine Inch Nails and Ministry were able to hold their own in the charts, a large number of the bands and the perception of industrial rock / metal as an independent crossover style remained hidden from a larger audience. The music was designed too electronically for the metal scene and therefore met with little approval. It was too electronic and too metal-heavy for the punk scene, while the electro scene in Europe could not make friends with hard guitars and viewed them as retrograde.

Industrial rock / metal therefore found favor with the North American Rivethead culture. Many bands were to be found in the USA on labels dedicated to American electro-industrial music, including Wax Trax !, Fifth Colvmn, 21st Circuitry, Re-constriction and COP International. In the mid-1990s, record labels such as Dynamica , Off Beat or Out of Line took on the genre in Germany with relatively little success . German bands such as KMFDM and Testify released their albums almost exclusively in the USA or moved there due to a lack of recognition.

influence

Despite its low popularity, industrial rock / metal had a lasting impact on music culture. Even in the heyday of the movement, bands from the areas of Grindcore and Extreme Metal began - according to their role models - to experiment with electronic and post-industrial elements.

Grindcore

The US grindcore band Furnace released their first EP in this form in 1992 under the title Cremated Souls . Brutal Truth used components of the genre on their albums Extreme Conditions Demand Extreme Responses (1992) and Need to Control (1994). Together with Shane Embury from Napalm Death , Brutal Truth members Danny Lilker and Scott Lewis founded the project Malformed Earthborn ( Defiance of the Ugly by the Merely Repulsive , 1995), which is inspired by artists like Skinny Puppy and Coil , a mélange from electro-industrial and industrial metal in the style of Godflesh . The Japanese industrial deathgrind combos Def.Master and Cemment followed with the works The Fear of God (1993) and Lost Humanity (1995) and, like Furnace, anticipated the characteristic features of the subgenre later known as Electrogrind and Cybergrind . Teratism in the Formalintank (split album with Carcass Grinder , 1995) and the Slovenian grindcore band Extreme Smoke 57 ( Who Sold the Scene?, 1994) preferred a comparable sound.

Thrash metal

The German thrash metal band Kreator opened up to the crossover trend of the 1990s on their 1992 work Renewal and combined their style with borrowings from hardcore punk and industrial metal. Max Cavalera from Sepultura and Alex Newport from Fudge Tunnel released the industrial-metal-oriented thrash metal album Point Blank in 1994 using the name Nailbomb . The Canadian metal band Varga combined basic elements of Thrash and Groove Metal with elements of Industrial Rock on their 1994 album Prototype . Comrades Voivod followed a similar path with the works Negatron (1995) and Phobos (1997).

Black metal

The Norwegian black metal bands Mysticum ( Wintermass , 1994) and The Helheim Society ( Walpurgisnatt , 1994) picked up elements of the genre - mostly using a drum computer. Mika Luttinen from Impaled Nazarene and Magus Wampyr Daoloth from Necromantia founded the side project Diabolos Rising ( 666 , 1994) especially for this mélange . At the same time bands like Diabolicum and Aborym emerged in the tradition of Mysticum . From the second half of the 1990s onwards, other black metal bands, such as Samael , Ulver , Thorns and Gorgoroth , added industrial metal elements to their sound.

Others

From the mid-1990s, these style overlays also aroused increasing interest outside of the extreme punk and metal varieties. The alternative metal band Marilyn Manson brought out a work inspired by industrial rock with their 1996 album Antichrist Superstar under the influence of Trent Reznor (Nine Inch Nails) and skinny puppy producer David "Rave" Ogilvie. Danzig took a closer look at the style for the first time on the long player Blackacidevil , released in the same year . The Hypocrisy guitarist Peter Tägtgren made his debut with the work Pain of his solo project of the same name , on which he temporarily combined dark metal with industrial rock. The originally traditionally oriented heavy metal band WASP took over elements of industrial rock for the 1997 album KFD . The musicians Taime Downe ( Faster Pussycat ) and Rob Halford ( Judas Priest ), who also work in the heavy metal and hard rock environment , each started solo careers with their projects Newlydeads and 2wo .

Most of these bands resorted to components of the genre in order to make their soundscape appear progressive and thus achieved a far greater acceptance in the rock and metal scene than pure industrial rock groups.

" 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

Origin of name

The term industrial rock has been used since the mid-1980s and is mentioned, for example, in the 1985 book Recombinant do re mi: Frontiers of the Rock Era for the music of the groups Swans and Einstürzende Neubauten . Two years later it was used in the publication Chambers Pocket Guide to Music Forms & Styles by Wendy Munro. Munro describes the genre as a form of noise rock using unconventional objects or tools, such as metal pipe parts and pneumatic hammers, and also cites the Einstürzende Neubauten as an example, whose band name she translated into English as "Collapsing New Buildings" . In 1988 the name falls again in connection with the Einstürzende Neubauten, this time in the New Jersey magazine Fanfare .

“ Last year, a German 'industrial rock' group called Einstürzende Neubauten hit my town for a few summer gigs to the bewilderment of most who attended. "

- Fanfare , 1988

However, the name was only established in the years 1989-1991 through the media presence of the bands Ministry, Nine Inch Nails and KMFDM, who worked exclusively with samples in order to achieve the sound image described by Munro (see the section on stylistic features ).

Labels

Individual evidence

  1. ^ A b Jonathan S. Epstein / David A. Locher: Youth Culture: Identity in a Postmodern World , p. 102, Wiley-Blackwell Publishers 1998, ISBN 1-55786-851-4 .
  2. ^ A b Jonathan S. Epstein / David A. Locher: Youth Culture: Identity in a Postmodern World , p. 103, Wiley-Blackwell Publishers 1998, ISBN 1-55786-851-4 .
  3. ↑ Holger Stratmann: MINISTRY . In Case You Didn't Feel Like Showing Up (Live) . In: Rock Hard , No. 46, 1990.
  4. ^ Mark Blackwell / Jim Greer: All-Day Sucker , SPIN Magazine , Oct 1991, p. 57
  5. ↑ Essi Berelian: Industrial Metal . In: The Rough Guide to Heavy Metal , p. 161, Rough Guides Ltd. 2005, ISBN 1-84353-415-0
  6. ↑ Axel Schmidt, Klaus Neumann-Braun: Die Welt der Gothics. Scope of dark connotations of transcendence , p. 269, 2004, ISBN 3-531-14353-0 .
  7. ↑ Armin Johnert : Interview with The Young Gods . In: New Life Soundmagazine , Issue 3/92, p. 29, August 1992.
  8. ↑ Maik Euscher: The Future of Rock - Interview with The Young Gods . In: New Life Soundmagazine , issue 6/95, p. 30, June 1995.
  9. ↑ Josh Ruffin, Existing Through Risk - Interview with Justin K. Broadrick . In: Metro Spirit . Music Features, October 2007, online article ( February 10, 2009 memento on the Internet Archive ).
  10. ↑ Steven Blush: Cult of Personality - Interview with Ministry . In: SPIN Music Magazine , Issue 10/91, p. 78, October 1991.
  11. ↑ Gary Graff: Music Hound skirt. The Essential Album Guide , Visible Ink Press, October 1996, ISBN 0-7876-1037-2 .
  12. ↑ Armin Johnert: Interview with Ministry . In: New Life Soundmagazine , issue 3/92, p. 6, August 1992.
  13. ↑ Essi Berelian: Ministry . In: The Rough Guide to Heavy Metal , pp. 225/226, Rough Guides Ltd. 2005, ISBN 1-84353-415-0
  14. ↑ Frank Albrecht: SKREW . Burning in Water, Drowning in Flame . In: Rock Hard , No. 64, 1992.
  15. ^ John Shepherd / Dave Laing / David Horn: Continuum Encyclopedia of Popular Music of the World. Pt. 2 , p. 195, Continuum, April 2005, ISBN 0-8264-7436-5 .
  16. ↑ Timo Hoffmann: Interview with Testify . In: Zillo Musikmagazin , issue 3/95, p. 41, March 1995.
  17. ↑ Reiner Rasche: Interview with Fear Factory . In: Entry Musikmagazin , issue no. 4/98, p. 25, August / September 1998.
  18. ↑ Stefan Herwig: Interview with the Belgian band Front 242 . In: Sub Line Musikmagazin , issue 7-8 / 93, p. 20, 1993.
  19. ^ A b Jonathan S. Epstein / David A. Locher: Youth Culture: Identity in a Postmodern World , p. 114, Wiley-Blackwell Publishers 1998, ISBN 1-55786-851-4 .
  20. ↑ Maik Euscher: Review of the album Only Heaven by The Young Gods . In: New Life Soundmagazine , issue 5/95, p. 34, May 1995.
  21. ↑ Jonathan S. Epstein / David A. Locher: Youth Culture: Identity in a Postmodern World , p. 101, Wiley-Blackwell Publishers 1998, ISBN 1-55786-851-4 .
  22. ↑ Wolf-Rüdiger Mühlmann: DIVISION ALPHA . Facium One . In: Rock Hard , No. 155, 1999.
  23. ↑ Peter Matzke & Tobias Seeliger: The Gothic and Dark Wave Lexicon , p. 228, 2002, ISBN 3-89602-277-6 .
  24. ↑ Jonathan S. Epstein / David A. Locher: Youth Culture: Identity in a Postmodern World , p. 112, Wiley-Blackwell Publishers 1998, ISBN 1-55786-851-4 .
  25. ↑ Christian Petke: We are as Hardcore as Possible - Interview with Bill Leeb, Front Line Assembly . In: New Life Soundmagazine , issue 3/94, p. 6, March 1994.
  26. ↑ Jan Liebricht: Interview with KMFDM . In: Vertigo Musikmagazin , issue 4/93, p. 7, spring 1993.
  27. ↑ Gino Filicetti: Malformed Musical Mayhem - Interview with Danny Lilker . In: Chronicles of Chaos , January 1996, online article .
  28. ↑ Mysticum.com - Official. Retrieved September 22, 2010 .
  29. ↑ Jeff Rotter: The Devil Said to Me - Interview with Trent Reznor . In: SPIN Magazine , January 1997, online article .
  30. ↑ Jonathan S. Epstein / David A. Locher: Youth Culture: Identity in a Postmodern World , p. 115, Wiley-Blackwell Publishers 1998, ISBN 1-55786-851-4 .
  31. ^ Billy Bergman, Richard Horn: Recombinant do re mi: Frontiers of the Rock Era , p. 37, Quill 1985, ISBN 0-688-02395-9 .
  32. ↑ Wendy Munro: Chambers Pocket Guide to Music Forms & Styles , p. 40, Larousse Kingfisher Chambers 1987, ISBN 0-550-18033-8 .
  33. ^ Joel Flegler, Fanfare , issue 5/6/88.
  34. ↑ Electronic Musician , Volume 5, Issues 7-12, pp. 35, 1989.