Electronic body music

. The term electronic body music was first used by Ralf Hütter of the German electronic band Kraftwerk in an interview with British music newspaper Sounds in November 1977. In June 1978 Hütter reused the phrase in an interview with WKSU radio (Kent, Ohio) to explain the more physical character of the Kraftwerk album The Man-Machine. Although the term originated in the late 1970s, it was not until the 1980s when it reappeared and started to come into popular use. In 1981, DAF from Germany employed the term "Körpermusik" (body music) to describe their danceable electronic punk sound. The term "electronic body music" was later used by Belgian band Front 242 in 1984 to describe the music of their EP of that year titled No Comment. ==Characteristics==

Described as an outgrowth of "electronically generated punk [music] intertwined with industrial sounds," EBM has been characterized as a composite of programmed drum beats, repetitive basslines, and clear or slightly distorted vocals, instructional shouts or growls complemented with reverberation and echo effects. Environmental samples, e.g. hammer blow, machine and alert sounds, are often used to create a "factory ambiance". Other samples include political speeches and excerpts from science fiction movies, cf. Front 242 – Funkahdafi. ==History==

Precursors EBM evolved from a combination of post-punk, industrial and post-industrial music sources, including The Normal, Suicide, DAF, Die Krupps, Killing Joke, Cabaret Voltaire, Throbbing Gristle artists such as Kraftwerk and Tangerine Dream (who had used electronic bass sequences as a basic feature in their productions). Other influences include the synth-pop music of The Human League and Fad Gadget; and the krautrock-inspired dance hit "I Feel Love" by Giorgio Moroder and Donna Summer. and the punk movement. bands such as DAF, Die Krupps, Liaisons Dangereuses, At the time the genre arose, style-defining synthesizers included Korg MS-20, ARP Odyssey, and Cabaret Voltaire, followed soon after. Groups from this era often applied socialist realist aesthetics, with ironic intent. Other prominent artists were Pankow, Vomito Negro, Borghesia, The Neon Judgement, à;GRUMH..., The Klinik, and Signal Aout 42. 1988–1993 In the second half of the 1980s, the genre became popular in Canada (Front Line Assembly) and the U.S. (Ministry, Revolting Cocks, Schnitt Acht) resulting in the album Pretty Hate Machine (1989). Armageddon Dildos, Bigod 20, Insekt, Scapa Flow, Orange Sector, Paranoid, and Electro Assassin. Between the early and mid-1990s, many EBM artists ceased activities or changed their musical direction, incorporating more elements of rock, heavy metal and electronica. The album 06:21:03:11 Up Evil by Front 242 initiated the end of the EBM era of the 1980s. Nitzer Ebb, one of the most important purveyors of the genre, turned into an alternative rock band. Without the strength of its figureheads, electronic body music as a discernable music style faded by the mid-1990s. spawning a variety of newcomers. Primarily as a counteracting force against the expanding futurepop scene, these artists followed a neo-traditionalistic path, often referred to as "old school EBM". Green Velvet, Black Strobe, and David Carretta, moved towards this techno/EBM crossover style. There has been increasing convergence between this scene and the old school EBM scene. Some artists have remixed each other. Most notably, Terence Fixmer joined with Nitzer Ebb's Douglas McCarthy to form Fixmer/McCarthy. ==Aesthetics==

EBM follows the transgressive approach of punk and industrial music (e.g. "demystification of symbols") and the use of provocative extreme imagery is common (e.g. Nazi paraphernalia; reminiscent of punk's use of the swastika). Appropriating totalitarian, Socialist and Fascist references, symbols, and signifiers has been a recurring topic of debate between fans and outsiders to the genre alike due to its stylistical ambiguity that stems from industrial music's contrarian nature. In one instance, military-themed band Laibach "ma[de] no attempt to subvert this image [so] it has the aura of authenticity" so "[m]any Laibach fans began to revel in the evils of the band and to take their stage act at face value." and is known for its "tough-guy" or machismo attitudes displayed by both men and women. According to Gabi Delgado-López of Deutsch Amerikanische Freundschaft, the duo who adopted an aesthetic of black leather and military paraphernalia in the early 1980s was inspired by the male homosexual sado-masochistic scene and is not meant to represent "machismo ideology" but part of a "role." == Derivatives and alternative terms ==

Electro-industrial Electro-industrial is an outgrowth of the EBM and industrial music that developed in the mid-1980s. While EBM has minimal structures and a clean production, electro-industrial draws on deep, complex and layered sounds, incorporating elements of ambient industrial. Electro-industrial was pioneered by Skinny Puppy, Numb and Mentallo & The Fixer. In the early 1990s, the style spawned the dark electro genre and, in the end of the decade, a strongly techno- and hard-trance-inspired style called "hellektro" or "aggrotech." Industrial dance Industrial dance is a North American umbrella term for electronic body music and electro-industrial music. Fans associated with these genres call themselves rivetheads. In general, industrial dance is characterized by its "electronic beats, symphonic keyboard lines, pile-driver rhythms, angst-ridden or sampled vocals, and cyberpunk imagery". the term industrial dance has been used to describe the music of Cabaret Voltaire (early 1980s), early Die Krupps, Portion Control, The Neon Judgement, KMFDM, Skinny Puppy, Front Line Assembly, Front 242, Ministry, Nine Inch Nails, Manufacture, Yeht Mae, My Life with the Thrill Kill Kult, Leæther Strip and early Spahn Ranch. In March 1989, Spin Magazine presented a two-paged special report about the industrial dance movement in Canada and the U.S. ==See also==