Electronic body music: Difference between revisions

| name = Electronic body musicEBM

| other_names = Industrial dance,<ref name="techno">{{cite book |last1=Sicko |first1=Dan |title=Techno Rebels: The Renegades of Electronic Funk |date=2010 |publisher=Wayne State University |isbn=9780814337127 |url=https://wwwbooks.google.com/books/edition/Techno_Rebels/?id=bCs-wQSG9hYC?hl=en&gbpv=1&dq=%22industrial+dance+music%22+%22ebm%22&pg=PT106&printsec=frontcover |access-date=10 August 2020}}</ref> Aggrepo<ref>Various Artists: ''Liner-Notes of the compilation ‚Music from Belgium‘Belgium'.'' Techno Drome International/ZYX Records, 1988.<br />"This record will show you the roots of Belgian electronic music. Young musicians who don’tdon't want to ride on the New Beat wave. They want to do 100% Aggrepo for your body mechanic!"</ref>

| image = Front242 3.jpg

| caption = [[Front 242]]

| stylistic_origins = {{hlist|[[Industrial music|Industrial]]<ref name="Kilpatrick">[[Nancy Kilpatrick]]. ''The Goth Bible: A Compendium for the Darkly Inclined''. New York: [[St. Martin's Press|St. Martin's Griffin]], 2004, {{ISBN|0-312-30696-2}}.</ref>|[[synth-punk]]<ref name=hillveld>Hillegonda C Rietveld (1998) ''This Is Our House: House Music, Cultural Spaces and Technologies'' Aldershot: Ashgate. {{ISBN|978-1-85742-242-9}}</ref>|[[post-punk]]<ref>Keunen, Gert (2002). ''Pop!: een halve eeuw beweging''. Lannoo Uitgeverij, {{ISBN|9789020948714}}, p.&nbsp;206. Quote: "[W]as de zogenaamde electronic body music, een Belgische postpunkvariant[.]"</ref>|[[synth-pop]]<ref name=Fact>{{cite web |last1=B |first1=Daniel |title=A Beginner's Guide to EBM |url=https://www.factmag.com/2012/05/24/a-beginners-guide-to-ebm/amp/ |website=FACT |date=24 May 2012 |access-date=11 May 2019}}</ref> |[[krautrock]]<ref name="Adelt181" />|[[Krautrock#Kosmische Musik|Berlin school]]<ref name=Fact />|[[electro (music)|electro]]|[[disco]]<ref name="Bloomsbury">{{cite book |last1=Horn|first1=David |title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11 |date=2017 |publisher=Bloomsbury |isbn=9781501326103 |url=https://books.google.com/books?id=WKc0DwAAQBAJ}}</ref>|[[electronic dance music]]<ref name="SeanAlbiez" />}}

| cultural_origins = Early 1980s, Western Europe (West Germany, Belgium, Netherlands)

| derivatives = {{hlist||[[New beat]]|[[electro-industrial]]|[[big beat]]|[[dark electro]]|[[techno]]|[[Hardcore (electronic dance music)|hardcore]]|[[Goa trance music|goa trance]]|[[futurepop]]}}

| other_topics = * [[cyberpunk]]

'''Electronic body music''' ([[acronym]]ized to '''EBM''') is a genre of [[electronic music]] that combines elements of [[industrial music]] and [[synth-punk]] with elements of [[disco]] and [[dance music]]. It developed in the early 1980s in [[Western Europe]], as an outgrowth of both the [[Punk rock|punk]] and [[the industrial music]] cultures.<ref>Eva Fischer: ''Audio-visuelle Tendenzen. Entwicklungen in der Visualisierung elektronischer Musik und in der Clubkultur.'' Universität Wien, 2009, p.&nbsp;18.</ref> It combines sequenced repetitive basslines, programmed [[dance music]] rhythms, and mostly undistorted vocals and [[Military order (instruction)|commandlikecommand-like]] shouts with confrontational or provocative themes.<ref name="SeanAlbiez">{{cite book |author-last=Albiez|author-first=Sean |chapter=Electronic Body Music |editor-last1=Horn|editor-first1=David |editor-last2=Shepherd|editor-first2=John |editor-last3=Prato|editor-first3=Paolo |title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11 |date=2017 |publisher=Bloomsbury Academic|isbn=9781501326103 |pages=222–223 |url=https://books.google.com/books?id=WKc0DwAAQBAJ}}</ref>

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 (magazine)|Sounds]] in November 1977.<ref>{{Cite web|url=http://www.djfood.org/kraftwerk-and-the-cold-wave-in-sounds-26-11-77/|title=Kraftwerk and 'The Cold Wave' in Sounds 26.11.77|date=10 August 2013 }}</ref> In June 1978 Hütter reused the phrase in an interview with [[WSKUWKSU]] radio (Kent, Ohio) to explain the more physical character of the Kraftwerk album ''[[The Man-Machine]]''.<ref name="technopop">(2007-11-25) ''Klein, MJ'' [http://kraftwerk.technopop.com.br/interview_108.php WSKU Radio (Kent - Ohio) - Ralf Hütter - 19/06/1978] {{Webarchive|url=https://web.archive.org/web/20080310021047/http://kraftwerk.technopop.com.br/interview_108.php |date=2008-03-10 March 2008 }} kraftwerk.technopop.com.br (retrieved on 2008-01-28 January 2008)</ref> Although the term originated in the late 1970s, it was not until the 1980s when it reappeared and started to come into popular use.<ref name=Esch2016>{{cite book |last1=Esch |first1=Rudi |title=Electri_City: The Düsseldorf School of Electronic Music |date=2016 |publisher=Omnibus Press |isbn=9781783237760 |url=https://books.google.com/books?id=GUn_DAAAQBAJ |access-date=6 August 6, 2020 |language=en}}</ref>

In 1981, [[Deutsch Amerikanische Freundschaft|DAF]] from Germany employed the term "Körpermusik" (''body music'') to describe their danceable electronic punk sound.<ref>{{cite web|url=https://www.youtube.com/watch?v=y5oal1M26xQ| archive-url=https://web.archive.org/web/20150621152927/https://www.youtube.com/watch?v=y5oal1M26xQ| archive-date=21 June 2015-06-21 | url-status=dead|title=YouTube|website=www.youtube.com|access-date=5 July 2017}}</ref><ref>{{AllMusic|class=artist|id=mn0000147282/biography|last=Uncle Dave Lewis|label=D.A.F. bio|access-date= October 7, 2008}}</ref> The term "electronic body music" was later used by Belgian band Front 242 in 1984<ref>{{cite web| url = https://www.discogs.com/Front-242-No-Comment/release/102862| title = Front 242 – No Comment (1984, Vinyl) - Discogs| website = [[Discogs]]| year = 1984}}</ref> to describe the music of their EP of that year titled ''[[No Comment (Front 242 album)|No Comment]]''.<ref name="iafrica">(2004-06-20) ''Monsoon, Jon'' [http://entertainment.iafrica.com/music/profiles/330563.htm EBM - A revolution in progress] {{Webarchive|url=https://web.archive.org/web/20040721082853/http://entertainment.iafrica.com/music/profiles/330563.htm |date=2004-07-21 July 2004 }} iAfrica.com (retrieved on 3 August 2007-08-03)</ref><ref name="rideout">Ernie Rideout, interview with Front 242, ''Keyboard Presents the Best of the '80s'', Backbeat, 2008, p.&nbsp;57.</ref>

Described as an outgrowth of "electronically generated punk [music] intertwined with industrial sounds,"<ref>Oerter, Rolf (2005). ''Spezielle Musikpsychologie''. Hogrefe Publishing Group. {{ISBN|9783801705817}}, p.&nbsp;443. Quote: "Punk mit elektronischen Elementen und industriellen Gerauschen gemischt -, die sich Mitte der 80er Jahre insbesondere in den Benelux-Ländern zur Electronic Body Music (EBM) erweiterte (zu den bekannten Gruppen zählen Front 242 und Nitzer Ebb)"</ref> EBM has been characterized as a composite of programmed drum beats, repetitive basslines, and clear or slightly distorted vocals, instructional shouts or [[Growling|growls]]<ref>Judith Platz: ''Electronic Body Music (EBM).'' In: Axel Schmidt, Klaus Neumann-Braun: ''Die Welt der Gothics. Spielräume düster konnotierter Transzendenz.'' VS Verlag für Sozialwissenschaften, Wiesbaden, Dezember 2004, {{ISBN|3-531-14353-0}}, p.&nbsp;271.<br />"Am ehesten lässt sich der Vokaleinsatz als Sprechgesang bezeichnen: Die Worte und Textzeilen werden deutlich gesprochen oder geschrien. Neben der tiefen, männlichen Hauptstimme, die meist trotz möglicher Echo-Effekte oder leichter Verzerrung gut verständlich ist, kommt oft noch ein so genannter ‚Shouter‘‚Shouter' zum Einsatz."</ref> complemented with reverberation and echo effects.<ref name="SeanAlbiez" /> Typical EBM rhythms rely on the [[Four on the floor (music)|4/4 disco beat]] of [[disco]] or rock-oriented [[backbeat]]s,<ref name="Bloomsbury" /> (featuring [[kick drum]], [[snare drum|snare]] and [[hi-hat]]) and some minor [[syncopation]].<ref name=Reed165>S. Alexander Reed: ''Assimilate. A Critical History of Industrial Music.'' Oxford University Press, Oxford 2013, {{ISBN|978-0-19-983260-6}}, p.&nbsp;165.<br />"Rhythmically, EBM is based around an incessant quarter-note kick drum pattern, often with a backbeat snare. Drum machine hi-hats fill in the rhythmic gaps, but percussive ornamentation varies from artist to artist. […] Drum sounds were often samples of drums, car crashes, door slamming or environmental percussion."</ref><ref name="SeanAlbiez" />

EBM evolved from a combination of [[post-punk]], [[industrial music|industrial]] and post-industrial music sources, including [[The Normal]], [[Suicide (band)|Suicide]], [[Deutsch Amerikanische Freundschaft|DAF]], [[Die Krupps]], [[Killing Joke (band)|Killing Joke]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[Throbbing Gristle]]<ref name="SeanAlbiez" /> and [[Test Dept.]] but also [[krautrock]] and [[Krautrock#Kosmische Musik|Berlin school]]<ref name="Adelt181">Ulrich Adelt: ''Krautrock. German Music in the Seventies.'' University of Michigan Press, 2016, {{ISBN|0-472-05319-1}}, p.&nbsp;181.</ref> artists such as Kraftwerk and [[Tangerine Dream]] (who had used electronic bass sequences as a basic feature in their productions).<ref name=hillveld/><ref name="SeanAlbiez" />

|text=The song “Warm"Warm Leatherette”Leatherette" (The Normal, 1978) stands at the beginning of an important development, the electrified version of Punk that had been picked up and transformed in Düsseldorf by bands like Die Krupps, DAF and [[Liaisons Dangereuses (band)|Liaisons Dangereuses]], music that might be called proto-EBM at least. […...] The role of sequencers, synthesizer and drum machine sounds for the creative process itself and its results are another interesting point concerning EBM. The use of these instruments contributed obviously to the formation of danceable grooves and sound textures that attracted a wider audience.<ref name="Thoughts2">{{cite book |last1=Kaul |first1=Timor |title=Some Thoughts on EBM as a transitional genre. |date=2016 |publisher=Academia.edu |isbn= |pages=2 |url= |access-date= |language=en}}</ref>

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]].<ref>Ulrich Adelt: ''Krautrock. German Music in the Seventies.'' University of Michigan Press, 2016, {{ISBN|0-472-05319-1}}, p.&nbsp;135.<br />"Moroder first experimented with krautrock-oriented synthesizer sounds on his solo album ‚Einzelgänger‘‚Einzelgänger' (1975), an artistic and commercial failure. It is remarkable that he not only felt the necessity to experiment with synthesizer sounds reminiscent of Berlin School artists like Tangerine Dream and Klaus Schulze but that these experiments would help him to develop a unique German Disco sound with Summer’sSummer's 1977 hit ‚I Feel Love‘Love'."</ref><ref name="SeanAlbiez" /> Daniel Bressanutti (Front 242), who helped establish the term EBM, named the soundscapes of [[Tangerine Dream]] and [[Klaus Schulze]] as additional influences along Kraftwerk, Throbbing Gristle, the sequencer-based [[Eurodiscoelectro-disco]] of Giorgio Moroder,<ref>{{cite web |last=Reynolds |first= Simon|title=Disturbing Sounds to Unruffle the New Age |url=https://www.nytimes.com/1991/02/24/arts/recordings-view-disturbing-sounds-to-unruffle-the-new-age.html |newspaper=[[The New York Times]] |date=1991 |access-date=29 July 2018}}</ref> and the [[punk subculture|punk movement]].<ref name=Fact />

Emerging in the early 1980s in Germany and Belgium,<ref>Judith Platz: ''Electronic Body Music (EBM).'' In: Axel Schmidt, Klaus Neumann-Braun: ''Die Welt der Gothics. Spielräume düster konnotierter Transzendenz.'' VS Verlag für Sozialwissenschaften, Wiesbaden, Dezember 2004, {{ISBN|3-531-14353-0}}, p.&nbsp;270.<br />"Seinen Ursprung hat das Genre Anfang der 1980er-Jahre in Deutschland und Belgien."</ref> bands such as [[Deutsch Amerikanische Freundschaft|DAF]], [[Die Krupps]],<ref>Release Magazine: [http://www.releasemagazine.net/Onrecord/ordiekruppstmh.htm Die Krupps - Too Much History]</ref> Liaisons Dangereuses,<ref name="Thoughts2" /> and [[Front 242]] started to blend danceable rhythms and repetitive sequencer lines.<ref name=Esch>{{cite book |last1=Esch |first1=Rudi |title=Electri_City: The Düsseldorf School of Electronic Music |date=2015 |publisher=Suhrkamp |isbn=9783518464649 |pages=275–347 |url= |access-date=|language=en}}</ref> At the time the genre arose, style-defining synthesizers included [[Korg MS-20]],<ref name=Esch /> [[Roland SH-101]],<ref>S. Alexander Reed: ''Assimilate. A Critical History of Industrial Music.'' Oxford University Press, Oxford 2013, {{ISBN|978-0-19-983260-6}}, p.&nbsp;153.</ref> ARP Odyssey,<ref name=Esch /> [[Emulator II]],<ref name=Reed165/> along with several [[Oberheim Matrix synthesizers|Oberheim]] and [[Yamaha Corporation|Yamaha]] models.<ref name=Esch />

Archetypical songs are ''Verschwende deine Jugend'', ''Alle gegen alle'' and ''[[Alles ist gut|Der Mussolini]]'' by DAF; ''Wahre Arbeit, wahrer Lohn'', ''Goldfinger'' and ''[[Volle Kraft voraus!|Für einen Augenblick]]'' by Die Krupps; ''Etre assis ou danser'', ''Los niños del parque'' and ''Avant-après mars'' by [[Liaisons Dangereuses (band)|Liaisons Dangereuses]], and ''[[Geography (Front 242 album)|Body to Body]]'', ''[[Geography (Front 242 album)|U-Men]]'' and ''He Runs Too Fast for Us'' by Front 242.

Front 242 characterized their approach as somewhere between Throbbing Gristle and Kraftwerk.<ref name="rideout" /> Nitzer Ebb and [[Portion Control (band)|Portion Control]], influenced by DAF<ref>{{AllMusic|class=album|id=mw0000201484|first=Ned|last=Raggett|label=That Total Age review|access-date=October 7, 2008}}</ref> and [[Cabaret Voltaire (band)|Cabaret Voltaire]], followed soon after. Groups from this era often applied [[socialist realist]] aesthetics, with ironic intent.<ref>{{AllMusic|class=album|id=mw0000311203|first=Ned|last=Raggett|label=Die Kleinen und die Bösen review|access-date=October 7, 2008}}</ref> Other prominent artists were Pankow,<ref>Andi Harriman: [https://post-punk.com/pankow-premiere-new-single-blockupy/ Italian EBM progenitors Pankow], August 23, August 2017.</ref> [[Vomito Negro (band)|Vomito Negro]], [[Borghesia]], [[The Neon Judgement]],<ref>{{AllMusic|class=artist|id=mn0000399998|last=Huey|first=Steve|label=Neon Judgement: Biography|access-date=May 19, 2010}}</ref> [[à;GRUMH...]],<ref>{{AllMusic|class=artist|last=Huey|first=Steve|id=mn0000921561/biography|label=à;GRUMH: Biography|access-date=May 19, 2010}}</ref><ref name="SeanAlbiez" /> [[A Split-Second]],<ref>{{AllMusic|class=artist|id=mn0000569418|last=Huey|first=Steve|label=A Split Second: Biography|access-date=May 19, 2010}}</ref> [[The Klinik]], and [[Signal Aout 42]].<ref>{{cite web|url=https://www.discogs.com/fr/artist/31127-Signal-Aout-42|title=Signal-Aout 42|website=Discogs|access-date=5 July 2017}}</ref>

In the second half of the 1980s, the genre became popular in Canada ([[Front Line Assembly]]<ref>{{AllMusic|class=artist|last=Ankeny |first=Jason |id=mn0000660941/biography|label=Front Line Assembly: Biography|access-date= May 19, 2010}}</ref>) and the U.S. ([[Ministry (band)|Ministry]],<ref>"...{{nbsp}}this album probably owes more to Front 242 than anything." {{AllMusic|class=album|id=twitch-mw0000207831|last=Esher|first=Alan|label=''Twitch'' review|access-date=March 11, 2009}}</ref> [[Revolting Cocks]],<ref>{{AllMusic|class=artist|last=Jeffries|first=David|id=mn0000888100/biography|label=Revolting Cocks: Biography|access-date=May 19, 2010}}</ref> [[Schnitt Acht]]<ref>{{AllMusic|class=album|id=mw0000266064|last=Henderson|first=Alex|label=Subhuman Minds: Overview|access-date=May 19, 2010}}</ref>)<ref name="SeanAlbiez" /> as well as in Sweden (Inside Treatment, [[Pouppée Fabrikk]], [[Cat Rapes Dog]]) and Japan (2nd Communication, DRP, [[Soft Ballet]]). North American bands started to use EBM-typical bass sequences and combined them with the roughness of [[Hardcore punk|(hardcore) punk]] and [[thrash metal]] (cf. [[industrial metal]]). [[Nine Inch Nails]] continued the cross-pollination between EBM and rock music<ref>{{AllMusic|class=artist|last=Huey|first=Steve|label=Nine Inch Nails: Biography|id=mn0000351733/biography|access-date=May 19, 2010}}</ref> resulting in the album ''[[Pretty Hate Machine]]'' (1989).<ref name="SeanAlbiez" />

In the late 1990s and after the millennium, Belgian, Swedish and German artists such as [[Ionic Vision]], [[Tyske Ludder]], and [[Spetsnaz (band)|Spetsnaz]]<ref name="SeanAlbiez" /> had reactivated the style. Based on this revival, Sweden and East Germany then became the centre of the movement<ref>{{cite book |author-last=Shuker|author-first=Roy |chapter=Gothic Rock |editor-last1=Horn|editor-first1=David |editor-last2=Shepherd|editor-first2=John |editor-last3=Prato|editor-first3=Paolo |title=Bloomsbury Encyclopedia of Popular Music of the World, Volume 11 |date=2017 |publisher=Bloomsbury |isbn=9781501326103 |pages=341 |url=https://books.google.com/books?id=WKc0DwAAQBAJ}}</ref> spawning a variety of newcomers such as [[Dupont (band)|Dupont]], Proceed, and Sequenz-E. Primarily as a counteracting force against the expanding [[futurepop]] scene,<ref name="Vorndran">Daniela Vorndran: [https://www.reflectionsofdarkness.com/artists-p-t-bandinfo-61/848-spetsnaz Spetsnaz], ''Reflections of Darkness: A Dark Music webzine'', 6 March 6, 2006.</ref> these artists followed a neo-traditionalistic path, often referred to as "old school EBM".<ref name="Kaul" />

Simultaneously, a number of European techno producers started incorporating elements of EBM into their sound. This tendency grew in parallel with the emerging [[electroclash]] scene<ref name="SeanAlbiez" /> and, as that scene started to decline, artists partly associated with it, such as [[The Hacker]], [[DJ Hell]],<ref>{{cite web|last=Theakston |first=Rob |url={{AllMusic|class=album|id=r617464|pure_url=yes}} |title=Electronicbody-Housemusic > Overview|publisher=allmusic |date=2002-11-26 November 2002 |access-date=2010-05-19 May 2010}}</ref> [[Green Velvet]], [[Black Strobe]],<ref>{{cite web|last=Kellman |first=Andy |url={{AllMusic|class=album|id=r692810|pure_url=yes}}|title=Chemical Sweet Girl > Overview|publisher=allmusic |date=1 June 2004-06-01 |access-date=2010-05-19 May 2010}}</ref> 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]].<ref>{{cite web |url=http://www.gothtronic.com/?page=23&reviews=4963 |title=Music &#124; CD Reviews |publisher=Gothtronic |access-date=19 May 2010 |archive-05date=25 February 2012 |archive-19url=https://web.archive.org/web/20120225082341/http://gothtronic.com/?page=23&reviews=4963 |url-status=dead }}</ref>

EBM follows the transgressive approach of punk and industrial music (e.g. "demystification of symbols"<ref>Bennett A, Guerra P (2018). ''DIY Cultures and Underground Music Scenes'', Routledge, {{ISBN|9781351850322}}. Quote: "[T]he dark symbolism of industrial music, the typically crude appearance associated with the punk era and, above all, underground collages and drawings oriented towards alternative contemporary art. While very particular aesthetic principles may be shared in some extreme subgenres such as power electronics or old-school noise, following the path of industrial music and its demystification of symbols (Obodda, 2002), the aesthetic judgements embraced by labels and listeners often demonstrate the rejection of imagery that is considered unoriginal."</ref>) and the use of provocative extreme imagery is common (e.g. Nazi paraphernalia;<ref>Kingsepp, Eva (2011). "[https://www.diva-portal.org/smash/record.jsf?pid=diva2%3A473521&dswid=-6576 Nazi Symbolism in Black Metal/National Socialist Black Metal],", Stockholm University, Faculty of Humanities, Department of Journalism, Media and Communication (JMK). (English). urn:nbn:se:su:diva-68780</ref> reminiscent of punk's use of the [[Nazi swastika|swastika]]<ref name=Rammstein>''[[Rammstein]] on Fire: New Perspectives on the Music and Performances'' edited by John T. Littlejohn and Michael T. Putnam {{ISBN|978-0-7864-7463-9}} (2013, [[McFarland & Company|McFarland]]</ref>).<ref>Timor Kaul: ''Some Thoughts on EBM as a transitional genre.'', Academia.edu, 2016, p.&nbsp;4.</ref> Appropriating totalitarian, [[socialism|Socialist]] and [[fascism|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.<ref name=Assimilate>{{cite book|last1=Reed|first1=S. Alexander|title=Assimilate: A Critical History of Industrial Music|year=2013|location=New York|publisher=Oxford University Press|isbn=9780199832606|oclc=1147729910|via=the Internet Archive|url-access=registration|url=https://archive.org/details/assimilatecritic0000reed}}. Principal quote: "Regarding the emergence of the dance-driven EBM from the industrial scene, a;GRUMPH...'s Jacques Meurrens says, "In [1985], the people who liked industrial and the people who liked EBM were mostly the same crowd," but even by the time, audiences were starting to form subgenre-based expectations."</ref> 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]]."<ref name=Assimilate/>

|text=Bon and Doug were heavily influenced by DAF, [[Test Dept.]] and [[Einstürzende Neubauten]]. Hand in hand with the music was the image which unashamedly borrowed a lot from German and Soviet imagery. We all loved the sharp and striking design images of Russian and German '30s and '40s posters and artwork. Obviously we faced a lot of questions and objections about the ‚Neo-Nazi‘Nazi' image. But really we were just using the images to get people to sit up and listen. ‚Iconoclastic minimalism‘minimalism' was one phrase that was used to describe Nitzer Ebb at the time.<ref>{{cite book |last1=Albinsson |first1=Stefan |title=Interview with Chris Piper |date=2008 |publisher=Nitzer Ebb Network New Jersey / USA |isbn= |pages= |url=http://www.nitzer-ebb.de/ebbdotcom/interview_2008_chrispiper.html |access-date= |language=en}}</ref>

The military style of EBM has a "part-human part-machine" gestalt typical of [[transhumanism|transhumanist]] or [[cyberpunk]] movements. EBM asserts a hyper-masculine image of "triumphalism, combat postures, and paranoia,"<ref>{{cite book |last=Reynolds |first=Simon |date=1990 |title=Blissed Out: The Raptures of Rock |publisher=Serpent's Tail |isbn=1-85242-199-1 }}</ref> and is known for its "tough-guy" or machismo attitudes displayed by both men and women.<ref>Martina O, Ernst W (2008). ''Performativität und Performance: Geschlecht in Musik, Theater und MedienKunst'', LIT Verlag Münster, {{ISBN|9783825806606}}, p.&nbsp;124.</ref> 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 [[Sadomasochism|sado-masochistic]] scene and is not meant to represent "''[[machismo]]'' ideology" but part of a "role."<ref name=DJ>{{cite book |title=DJ Culture in the Mix: Power, Technology, and Social Change in Electronic Dance Music |last=Attias |first=Bernardo |author2=Anna Gavanas |author3=Hillegonda Rietveld |year=2013 |publisher=A&C Black |isbn=978-1-62356-437-7 |pages=286 |url=https://books.google.com/books?id=WYczAQAAQBAJ |access-date=August 6, August 2020}}</ref>

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 (band)|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]]."

Since the mid-1980s,<ref>{{cite book|author=Gail Priest|title=Experimental Music: Audio Explorations in Australia|page=48|publisher=[[University of New South Wales]] Press|year=2009|isbn=978-1-921410-07-9}}</ref> the term ''industrial dance'' has been used to describe the music of Cabaret Voltaire (early 1980s),<ref>Holly George-Warren / Patricia Romanowski / Jon Pareles: ''The Rolling Stone Encyclopedia of Rock & Roll'', Fireside, 2001, {{ISBN|0-7432-0120-5}}, p.&nbsp;140.</ref><ref>{{cite book|title=The Secret History of Rock 'n' Roll|publisher=Viva Editions|author=Knowles, Christopher|author-link=Christopher Knowles (comics)|year=2010|isbn=9781573444057|url=https://archive.org/details/secrethistoryofr00know/page/236|page=[https://archive.org/details/secrethistoryofr00know/page/236 236]|via=the Internet Archive}}</ref> early Die Krupps,<ref name="Nobahkt">David Nobahkt: ''Suicide: No Compromise'' SAF Publishing Ltd., 2004, {{ISBN|0-946719-71-3}}, p.&nbsp;166.</ref> Portion Control,<ref>The Wire, Volume 269-274, C. Parker, 2006, p.&nbsp;32.</ref> [[The Neon Judgement]],<ref name="Nobahkt" /> [[Clock DVA]],<ref name="Mondo 2000" /> Nitzer Ebb,<ref>{{cite magazine|author=Tony Fletcher|title=Hard-boiled Ebb – Interview with Nitzer Ebb|magazine=[[Spin (magazine)|Spin]]|date=February 1992|publication-date=February 1992|pages=16–17|url=https://books.google.com/books?id=yLVeu01ciK8C&pg=PT18|access-date=24 October 24, 2017}}</ref><ref name="Zingales">Christian Zingales: ''Electronica'' Giunti Gruppo Editoriale, 2002, {{ISBN|88-09-02523-7}}, p.&nbsp;59.</ref> [[KMFDM]],<ref>{{cite magazine|first=Chuck|last=Eddy|url=https://books.google.com/books?id=_hQxGHrtDC0C&pg=PT74|title=KMFDM, ''Money'', Wax Trax!|department=Spins|magazine=[[Spin (magazine)|Spin Magazine]]|volume=8|issue=4|date=July 1992|page=71|access-date=21 August 21, 2018|via=Google Books}}</ref><ref>Amy Sciarretto: ''Wax Trax! / TVT Offers KMFDM's Final Statement with „Adios“„Adios"'', CMJ New Music Report, 5. April 1999, p.&nbsp;1.</ref><ref>Amy Sciarretto: ''Review of the album „MDFMK“„MDFMK" by MDFMK'', CMJ New Music Report, 14. February 2000, p.&nbsp;22</ref> [[Skinny Puppy]], [[Front Line Assembly]],<ref>David Jarman: ''Review of the album „Flavour of the Weak“Weak" by Front Line Assembly'', [[CMJ New Music Monthly]], April 1998, p.&nbsp;50.</ref><ref>David Jarman: ''Review of the album „Implode“„Implode" by Front Line Assembly'', [[CMJ New Music Monthly]], August 1999, p.&nbsp;44.</ref><ref>Vladimir Bogdanov / Chris Woodstra / Stephen Thomas Erlewine: ''All Music Guide to Electronica: The Definitive Guide to Electronic Music'', Backbeat Books, 2001, {{ISBN|0-87930-628-9}}, p.&nbsp;198.</ref> [[Front 242]],<ref name="lollapalooza">Tony Fletcher: ''Let's Go - Lollapalooza '93'', [[Spin (magazine)|SPIN magazine]], July 1993, p.&nbsp;44.</ref><ref name="Nobahkt" /><ref name="Zingales" /><ref>{{cite journal | title=Front 242 - Mut@ge.Mix@ge | author=Macdonald - Heidi | journal=[[CMJ]] |date=May 1998 | issue=57 | issn=1074-6978 }}</ref> [[Ministry (band)|Ministry]],<ref name="DeRogatis-2003-p95">{{cite book|author=Jim DeRogatis|author-link=Jim Derogatis|title=Milk it!: Collected Musings on the Alternative Music Explosion of the 90s|page=[https://archive.org/details/milkitcollectedm00dero/page/95 95]|publisher=Da Capo Press|year=2003|isbn=0-306-81271-1|quote=Big Black's relentless noise guitars, jackhammer rhythms and lyrical tales of America's underbelly continue to inspire cutting-edge bands such as Helmet, Tar and, the Jesus Lizard", as well as industrial dance groups such as Nine Inch Nails and Ministry.|url=https://archive.org/details/milkitcollectedm00dero|url-access=registration}}</ref> [[Nine Inch Nails]],<ref>{{cite magazine| title=Metal Machine Music | author=Eddy, Chuck | magazine=Spin Magazine |date=June 1998 | volume=14 | issue=6 | pages=139 | issn=0886-3032 }}</ref><ref name="DeRogatis-2003-p95"/><ref>{{cite book | title=The A to X of Alternative Music | publisher=[[Continuum International Publishing Group]] | author=Taylor, Steve | year=2006 | pages=165 | isbn=0826482171}}</ref> Manufacture,<ref name="John Leland 1989, p. 78">{{cite magazine|first=John|last=Leland|title=A Dilettante's Guide to Industrial Dance Music|url=https://books.google.com/books?id=bT9Dc3mzdZ8C&pg=PA78|department=Singles|magazine=Spin Magazine|date=March 1989|volume=4|issue=12|page=78|access-date=21 August 21, 2018|via=Google Books}}</ref> [[Yeht Mae]],<ref name="Mondo 2000">Rudy von Bitter Rucker / R. U. Sirius / Queen Mu: ''Mondo 2000: A User's Guide to the New Edge'', HarperPerennial, 1992, {{ISBN|0-06-096928-8}}</ref> [[My Life with the Thrill Kill Kult]],<ref>{{cite magazine| title=Recordnews | author=Jacks, Kelso | magazine=[[CMJ]] |date=November 1999 | volume=60 | issue=643 | pages=10 | issn=0890-0795 }}</ref> [[Leæther Strip]]<ref>[{{Cite web |url=http://www.allmusic.com/explore/style/industrial-dance-d4382 |title=Industrial Dance : Significant Albums, Artists and Songs, Most Viewed : AllMusic<!-- Bot generated title --> |website=[[AllMusic]] |access-date=6 September 2012 |archive-date=2 May 2012 |archive-url=https://web.archive.org/web/20120502152728/http://www.allmusic.com/explore/style/industrial-dance-d4382 |url-status=dead }}</ref> or early [[Spahn Ranch (band)|Spahn Ranch]].<ref>David Jarman: ''Review of the album „Beat Noir“Noir" by Spahn Ranch'', [[CMJ New Music Monthly]], January 1999, p.&nbsp;51.</ref> In March 1989, ''[[Spin (magazine)|Spin Magazine]]'' presented a two-paged special report about the industrial dance movement in Canada and the U.S.<ref name="John Leland 1989, p. 78"/>

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* [https://www.factmag.com/2012/05/24/a-beginners-guide-to-ebm/amp/ A Beginner’sBeginner's Guide to EBM], Fact magazine article.

* [http://www.allmusic.com/explore/style/industrial-dance-d4382 Allmusic definition of Industrial Dance] {{Webarchive|url=https://web.archive.org/web/20120502152728/http://www.allmusic.com/explore/style/industrial-dance-d4382 |date=2 May 2012 }}