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{{Infobox music genre
|name=Post-industrial
|bgcolor=silver
|color=black
|stylistic_origins=[[Industrial music|Industrial]], [[experimental music|experimental]], [[avant-garde music|avant-garde]] and others
|cultural_origins=Early 1980s; Europe, North America, Japan
|instruments=
|popularity= Underground; mainstream popularity for industrial metal in the 1990s
|derivatives= [[Dark ambient]], [[Electronic body music|EBM]], [[electro-industrial]], [[glitch]], [[Intelligent dance music|IDM]], [[industrial dance]]
|subgenrelist=
|subgenres=
|fusiongenres=[[Industrial rock]] - [[Industrial metal]] <br> [[Industrial hip hop]] - [[Neofolk]]
|regional_scenes=
|other_topics=[[List of noise musicians]]
}}
'''Post-industrial music''' is a collection of related [[music genres]] that emerged in the early 1980s, all of which blended elements of varying styles with the then new genre of [[industrial music]]. "Industrial" had first been applied to music in the mid-1970s by the [[Industrial Records]] label artists. Since then, a number of labels and artists have come to be called "industrial".<ref>"... journalists now use 'industrial' as a term like they would '[[blues]].' - Genesis P-Orridge, ''RE/Search'' #6/7, p. 16.</ref> These offshoots include fusions with [[power noise|noise music]], [[dark ambient|ambient music]], [[neofolk|folk music]], 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. The most commercially successful post-industrial subgenre is [[industrial metal]].
==Industrial music==
{{main|Industrial music}}
'''Industrial music''' comprises many styles of [[experimental music]], including many forms of [[electronic music]]. The term was coined in the mid-1970s for [[Industrial Records]] artists. The first industrial artists experimented with noise and controversial topics. Their production was not limited to music, but included mail art, performance art, installation pieces and other art forms.<ref name=Handbook>V.Vale. ''[[Industrial Culture Handbook|Re/Search #6/7: Industrial Culture Handbook]]'', 1983.</ref> Prominent industrial musicians include [[Throbbing Gristle]], [[Cabaret Voltaire]], [[Boyd Rice]], [[SPK]], and [[Z'EV]].<ref name=Handbook/> [[Test Dept]],<ref>{{Allmusic|class=artist|id=p5621|tab=biography|label=Biography of Test Dept.|first=John|last=Bush}}</ref> [[Clock DVA]],<ref>{{Allmusic | class = artist | id = p3923 | tab = biography | first = Jason | last = Ankeny | label = Biography of Clock DVA }}</ref> [[Nocturnal Emissions]],<ref>{{Allmusic | class = artist | id = p19609 | tab = biography | label = Biography of Nocturnal Emissions | first = Bradley | last = Torreano }}</ref> [[Whitehouse]],<ref name="whitehouseamg"/> [[Laibach]],<ref>{{Allmusic | class = artist | id = p13451| tab = biography | label = Biography of Laibach | first = David | last = Jeffires}}</ref> and [[The Leather Nun]]<ref>{{Allmusic | class = artist | id = p18847 | tab = biography | first = Michael | last = Sutton | label = Biography of Leather Nun}}</ref> subsequently participated in the movement. German group [[Einstürzende Neubauten]] forged their own style, which mixed [[Heavy metal|metal]] percussion, guitars and unconventional instruments (such as [[jackhammer]]s and bones) in stage performances that often damaged the venues in which they played.<ref>{{Allmusic | class = artist | id = p4174 | tab = biography | label = Biography of Einstürzende Neubauten | first = Steve | last = Huey}}</ref>
==Post-industrial developments==
===Ambient industrial===
{{main|Ambient_industrial}}
'''Ambient industrial''' projects like [[Coil]],<ref>Ed Howard, Coil artist profile, ''Stylus Magazine'', 2003. [http://www.stylusmagazine.com/articles/artist_profile/coil.htm]</ref> [[Lilith]],<ref>{{Allmusic|class=artist|id=p199843|tab=biography|first=Sean |last=Cooper|label=Biography of Lilith }}</ref> [[Nurse with Wound]],<ref>{{Allmusic|class=artist|id=p19634|tab=biography|label=Biography of Nurse with Wound}}</ref> [[Lustmord]],<ref>{{cite web|first=Brandon |last=Stosuy|title=Show No Mercy|work=Pitchfork|date=October 31, 2008|url=http://www.pitchforkmedia.com/article/feature/146846-column-show-no-mercy}}</ref> and [[Zoviet France]],<ref>{{Allmusic| class= album| id= r616239| tab= review| label= Review of ''Shadow, Thief of the Sun''| first= Sean |last= Carruthers}}</ref> evolved out of industrial music during the 1980s. These artists make use of non-musical material and noise, but less abrasively than other post-industrial musicians.<ref>{{cite web | url=http://music.hyperreal.org/epsilon/info/werner_notes.html | author=Werner, Peter | title=Ambient Industrial | publisher=[http://www.hyperreal.org hyperreal.org]}}</ref> The last material that Throbbing Gristle recorded in the studio, ''[[In the Shadow of the Sun (Throbbing Gristle album)|In the Shadow of the Sun]]'' and ''[[Journey Through a Body]]'', was ambient, and pointed in the direction that TG's offshoots (notably Coil, Chris & Cosey) would take.<ref name= headheritage>{{cite web|url= http://www.headheritage.co.uk/unsung/review/146|title= Throbbing Gristle - In The Shadow Of The Sun|author= Lucan, Lord|date= 2000-07-26|publisher= [http://www.headheritage.co.uk Julian Cope Presents Head Heritage]}}</ref> Other artists include [[Long Distance Poison]],<ref>http://www.discogs.com/artist/1991720-Long-Distance-Poison</ref> [[Hafler Trio]],<ref>{{Allmusic|class=artist|id=p18078|label=Hafler Trio}}</ref> MRT, [[Kim Cascone|PGR]],<ref>{{Allmusic|class=artist|id=p40918|label=PGR}}</ref> [[Controlled Bleeding]],<ref>{{Allmusic|class=artist|id=p12597|label=Controlled Bleeding}}</ref> [[Nine Inch Nails]] (''[[Ghosts I-IV]]''),<ref>{{Allmusic |class=album|id=r1343734|label=''Ghosts I-IV''}}</ref> early [[Techno Animal]],<ref>{{Allmusic |class=artist|id=p45259|label=Techno Animal}}</ref> prominent [[game music]] [[composer]] [[Akira Yamaoka]], [[Robin Rimbaud]],<ref>{{Allmusic|class=artist|id=p14176|label=Robin Rimbaud}}</ref> [[Final]]<ref>{{Allmusic |class=album|id=r267174|label=Final}}</ref> and [[Deutsch Nepal]].<ref>{{Allmusic |class=artist|id=p200350|label=Deutsch Nepal}}</ref>
[[Image:Kevin Ogilvie Headshot.jpg|thumb|150px|[[Nivek Ogre]] of Skinny Puppy, an electro-industrial group.]]
===Electro-industrial===
{{main|Electro-industrial}}
'''Electro-Industrial''' draws on [[Electronic body music|EBM]], and developed in the mid-1980s. While EBM has a minimal structure and clean production, electro-industrial has a deep, complex and layered sound. The style was pioneered by [[Skinny Puppy]],<ref>Adem Tepedelen, "Skinny Puppy Bark Back", ''Rolling Stone'', May 20, 2004. [http://www.rollingstone.com/artists/skinnypuppy/articles/story/6056448/skinny_puppy_bark_back]</ref> [[Frontline Assembly]], and :[[wumpscut]]:. In the mid-'90s, the style spawned the dark electro and aggrotech offshoots.<ref name=machens>Interview with Axel Machens, Vendetta Music, April 23, 2007. [http://vendetta-music.com/PHP/Interviews/Breathe_April07.php]</ref> Other artists include [[Haujobb]],<ref>Manny Theiner, "German electro-industrial duo Haujobb plays Pegasus Lounge", ''Pittsburgh City Paper'', September 13, 2007. [http://www.pittsburghcitypaper.ws/gyrobase/Content?oid=oid%3A35553]</ref> [[Lab Report]],<ref>{{Allmusic | class = artist | id = p22247 | tab = biography | label = Biography of Lab Report | first = John | last = Bush}}</ref> and [[Leæther Strip]].<ref>"Claus Larsen fronts one of Europe's leading Electro-Industrial bands." Mick Mercer, ''The Hex Files: The Goth Bible'', Woodstock: The Overlook Press, 1997, p. 24.</ref>
===Electronic body music===
{{main|Electronic body music}}
'''Electronic body music''' combines elements of [[industrial music]] and [[electronic dance music]].<ref name=sicko>Dan Sicko, ''Techno Rebels: The Renegades of Electronic Funk'', Billboard Books, 1999, p. 142.</ref> It first came to prominence in Belgium.<ref name=sicko/> The name was coined by Ralf Hütter of [[Kraftwerk]] in 1978 to explain the more physical sound of their 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] kraftwerk.technopop.com.br (retrieved on 2008-01-28)</ref> The term was later used in its current sense by Belgian group [[Front 242]] in 1984 to describe their EP ''[[No Comment (Front 242 album)|No Comment]]'', released in the same year.<ref name="iafrica">(2004-06-20) ''Monsoon, Jon'' [http://entertainment.iafrica.com/music/profiles/330563.htm EBM - A revolution in progress] iAfrica.com (retrieved on 2007-08-03)</ref> It denotes a certain type of danceable electronic music, a mixture of [[electropunk]] and [[industrial music]]. Other artists include [[Armageddon Dildos]],<ref>{{Allmusic |class=artist|id=p37110|label=Armageddon Dildos}}</ref><ref>{{Allmusic |class=album|id=r185216|label=Review of ''Homicidal Dolls''|first=Steven |last=McDonald|tab=review}}</ref> [[Die Krupps]],<ref>Release Magazine: [http://www.releasemagazine.net/Onrecord/ordiekruppstmh.htm Die Krupps - Too Much History]</ref> [[à;GRUMH...]],<ref>{{Allmusic | class = artist | id = p12121 | first = Steve | last = Huey | label = Biography of à;GRUMH...}}</ref> [[A Split-Second]],<ref>{{Allmusic | class = artist | id = p12127 | label = A Split-Second}}</ref> [[And One]],<ref>{{Allmusic | class = artist | id = p385218 | label = And One}}</ref> [[Bigod 20]],<ref>{{Allmusic | class = artist | id = p12359 | label = Bigod 20}}</ref> [[The Neon Judgement]],<ref>{{Allmusic | class = artist | id = p13777 | label = The Neon Judgement}}</ref> and [[Attrition]].<ref>{{Allmusic | class = artist | id = p15533 | label = Attrition}}</ref>
===Industrial hip hop===
{{main|Industrial hip hop}}
'''Industrial hip hop''' fuses the themes and aesthetics of industrial with [[hip hop music]]. Its origins are in the work of [[Mark Stewart]] and [[Adrian Sherwood]]. In 1985, Stewart, former [[Pop Group]] singer, released ''[[As the Veneer of Democracy Starts to Fade]]'', applying the [[cut-up]] style of industrial music with the house band of [[Sugar Hill Records (rap)|Sugar Hill Records]] ([[Doug Wimbish]], Keith Leblanc, and [[Skip McDonald]]).<ref>Mark Fisher, "Prometheus Unbound". p. 32. ''The Wire'' 293. July 2008</ref> Sherwood was a major figure in British [[dub music]], as well as working with industrial groups such as [[Cabaret Voltaire]], [[Einstürzende Neubauten]], [[Ministry]], [[KMFDM]], and [[Nine Inch Nails]].<ref>{{Allmusic | class = artist | id = p124623 | tab = biography | label = Biography of Adrian Sherwood | first = Jason | last = Ankeny}}</ref> [[Tackhead]], a collaboration between Sherwood and the Sugar Hill band, picked up where Stewart left off.<ref>Stephen Troussé, Portishead review, Uncut, [http://www.uncut.co.uk/music/portishead/reviews/11429]</ref> [[The Disposable Heroes of Hiphoprisy]], from San Francisco,<ref>Ben Wood, "Michael Franti: A New Bob Marley?", ''Suite 101'', May 31, 2007.</ref><ref name="NZ_Herald_10533107">{{cite news |url=http://www.nzherald.co.nz/music/news/article.cfm?c_id=264&objectid=10533107 |title=Michael Franti and Spearhead - All Rebel Rockers |author=Kara, Scott |date=September 19, 2008 |work=The New Zealand Herald}}</ref> and [[Meat Beat Manifesto]],<ref>{{Allmusic | class = artist | id = p13649 | tab = biography | label = Biography of Meat Beat Manifesto | first = John | last = Bush}}</ref> from the UK, are also early representatives of the style. The later work of Broadrick's [[Godflesh]],<ref name=ivens>Chris Downton, Ivens interview, Cyclic Defrost, [http://www.cyclicdefrost.com/blog/?p=1526]</ref> as well as his collaborations with [[Kevin Martin (British musician)|Kevin Martin]], [[Ice]],<ref>Filmore Mescalito Holmes, ''London Zoo'' review, ''Tiny Mixtapes''. [http://tinymixtapes.com/The-Bug]</ref> and [[Techno Animal]],<ref name=ivens/> are examples of industrial hip hop.<ref>Stevie Chick, "Till Deaf Us Do Part", ''The Guardian'', July 18, 2008. [http://www.guardian.co.uk/music/2008/jul/18/electronicmusic]</ref> Saul Williams, a slam poet, also performs in the style. Other notable contributors include: CX KidtroniK, clipping., B L A C K I E, Death Grips, and Electric Caves.<ref>"Nine Inch Nails Release Album Online", ''Revolver'', March 3, 2008. [http://www.revolvermag.com/content/nine-inch-nails-release-album-online]</ref>
[[Image:Rev cocks.jpg|thumb|[[Al Jourgensen]] with [[Revolting Cocks]], an industrial metal group]]
===Industrial rock===
{{main|Industrial rock|Industrial metal}}
'''Industrial rock''' artists generally employ the basic rock instrumentation of [[electric guitars]], [[Drum kit|drums]] and [[Bass guitar|bass]] and pair it with [[white noise]] blasts, [[electronic music]] gear ([[synthesizer]]s, [[Music sequencer|sequencers]], [[Sampler|samplers]] and [[drum machine]]s). Guitars are commonly heavily [[Distortion#Guitar distortion|distorted]] or otherwise [[Effects unit|effected]]. Bass guitars and drums may be played live, or be replaced by electronic musical instruments or computers. The early fusions of industrial music and rock were practiced by a handful of [[post-punk]] groups, including [[Chrome]],<ref>Reynolds, Simon (2005). ''Rip it up and start again: Postpunk 1978-1984.'' London: Faber and Faber Limited, p. 257-258</ref> [[Killing Joke]],<ref>Reynolds 2005, p. 435</ref> [[Swans]],<ref>Licht, Alan (2003). ''Tunnel vision.'' The Wire, 233: 30-37, p. 32.</ref> [[Big Black]],<ref>Blush, Steven (2001). ''American Hardcore: A tribal history.'' Los Angeles, CA: Feral House, p. 222.</ref> and [[Foetus]].<ref>Connelly, Chris (2007). ''Concrete, Bulletproof, Invisible + Fried: My Life as a Revolting Cock''. London: SAF Publishing, p. 12.</ref> '''Industrial metal''' evolved from the scene, and is practiced by groups such as [[Ministry]],<ref name= diperna2>Di Perna, Alan (1995). Jackhammer of the Gods. ''Guitar World, 15''(6), page 69.</ref> [[Godflesh]],<ref name= godflesh88>{{Allmusic | class = album | id = r8330 | tab = review | label = Review of ''Godflesh'' | last = Walters | first = Martin}}</ref> [[KMFDM]]<ref name= diperna2/> and [[Nine Inch Nails]].<ref name= allnin>{{Allmusic | class = artist | id = p5033 | tab = biography | label = Biography of Nine Inch Nails | first = Steve | last = Huey}}</ref>
[[Image:Masami Akita 5267969.jpg|thumb|left|Merzbow, prominent Japanoise musician, in 2007]]
===Japanoise===
{{main|Japanoise}}
'''Japanoise''' (a blend of the words "Japanese" and "noise") is the [[noise music]] scene of Japan.<ref>{{cite book|first=Nancy |last=Kilpatrick|title=The Goth Bible: A Compendium for the Darkly Inclined|location=New York|publisher=St. Martin's Griffin|year=2004|chapter=Chapter 5: Music of the Macabre|page= 86}}</ref><ref>{{cite web|url=http://culturemachine.tees.ac.uk/Articles/ThackerArticle.htm |title=CM92007Thacker |publisher=Culturemachine.tees.ac.uk |date=}}</ref> Popular and active in the 1980s and 1990s but continuing into the early 21st century, the Japanoise scene is defined by its sense of musical freedom: Groups range from the punk demolition of [[Hanatarash]]<ref>{{Allmusic | class = artist | id = p142878 | tab = biography | label = Biography of Hanatarash | first = Erik | last = Hage}}</ref> and its subsequent psychedelic [[Boredoms]] evolutions,<ref>{{Allmusic | class = artist | id = p3747 | tab = biography | label = Biography of Boredoms | first = Steve | last = Huey}}</ref> to the tabletop electronics of [[Incapacitants]]<ref>{{Allmusic | class = album | id = r495443 | tab = review | label = Review of ''Asset Without Liability'' | first = Brian | last = Whitener}}</ref> and [[Merzbow]].<ref>{{Allmusic | class = artist | id = p45034 | tab = biography | label = Biography of Merzbow | first = François | last = Couture}}</ref> The scene was initially inspired by power electronics<ref name=whitehouseamg/> and sometimes deals with [[BDSM]] themes.<ref>{{Allmusic | class = album | id = r295823 | tab = review | label = Review of ''Music for Bondage Performance, Vol. 2'' | first = Tom | last = Schulte}}</ref> Nonetheless, Japanoise is often less serious than other post-industrial styles,<ref>{{Allmusic | class = album | id = r190150 | tab = review | label = Review of ''Pop Tatari'' | first = Ned | last = Raggett}}</ref> and some musicians, such as [[Aube (musician)|Aube]],<ref>{{Allmusic | class = artist | id = p204073 | tab = biography | label = Biography of Aube | first = John | last = Bush}}</ref> are also inspired by psychedelia or [[space rock]].
===Neofolk===
{{main|Neofolk}}
[[Image:Current931 crop.jpg|thumb|The apocalyptic folk group [[Current 93]] in 2007]]
'''Neofolk''' is the music of artists like [[Douglas P.|Douglas Pearce]] of [[Death In June]],<ref>[http://monkeyhouse-recordings.co.uk/JK2CMS/index.php?option=com_content&task=view&id=1150&Itemid=38]</ref> [[Tony Wakeford]] of [[Sol Invictus]],<ref>[http://www.stewarthomesociety.org/wakeford.html]</ref> and [[David Tibet]] of [[Current 93]], who had collaborated with one another.<ref>[http://www.sputnikmusic.com/album.php?albumid=27921]</ref> These musicians comprised a post-industrial music circle who incorporated [[folk music]] based on traditional European elements. Neofolk can be solely acoustic folk music or a blend of acoustic folk instrumentation with accompanying sounds, such as pianos, strings or elements of industrial music and [[experimental music]]. The genre encompasses an assortment of themes including traditional music, heathenry, romanticism and occultism. Neofolk musicians often have ties to other genres such as [[martial industrial]]. ''Apocalyptic folk'' predates ''neofolk'' and was used by David Tibet for the music of his band [[Current 93]] during the late 1980s. Initially, Tibet did not intend to imply connection with the folk music genre; rather, that Current 93's music was made by "apocalyptic folk, or guys."<ref name="APOCALYPTICFOLK">"[http://www.popmatters.com/music/interviews/current-93-060516.shtml The Apocalyptic Visions of Current 93]"</ref>
[[Image:Whitehouse live 2006.jpg|thumb|left|Whitehouse, the founders of power electronics]]
===Power electronics===
{{main|Power electronics}}
'''Power electronics''' was originally coined by [[William Bennett (noise musician)|William Bennett]] for the [[noise music]] of his own project [[Whitehouse]].<ref name=whitehouseamg>{{Allmusic | class = artist | id = p21413 | tab = biography | label = Biography of Whitehouse | first = Peter | last = Schaefer}}</ref> It consists of screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics. Deeply atonal, there are no conventional melodies or rhythms.<ref>Emily Benjamin, "Whitehouse Asceticists Susan Lawly". ''The Johns Hopkins News-Letter''. February 14, 2006. [http://media.www.jhunewsletter.com/media/storage/paper932/news/2006/03/31/Arts/Whitehouse.Asceticists.Susan.Lawly-2242044.shtml]</ref> Members of Whitehouse who began other projects, such as [[Sutcliffe Jügend]], also practice power electronics.<ref>Creaig Dunton, ''Perfectly Flawed'' review, ''Brainwashed'', March 29, 2009. [http://brainwashed.com/index.php?option=com_content&task=view&id=7474&Itemid=1]</ref> ''Death industrial'' is a similar style associated with groups such as [[The Grey Wolves]],<ref>[http://www.aversionline.com/reviews/1315/]</ref> but the term first referred to artists such as [[Brighter Death Now]].<ref name=bdn>[http://www.heathenharvest.com/article.php?story=20080830064736321]</ref> The Swedish label [[Cold Meat Industry]] releases in this subgenre.<ref name=bdn/>
===Power noise===
{{main|Power noise}}
'''Power noise''' (also known as '''rhythmic noise''') takes its inspiration from some of the more structured and distorted early industrial acts, such as [[Esplendor Geometrico|Esplendor Geométrico]].<ref name=hymen>Hymen Records, Converter, Coma record description. [http://www.hymen-records.com/vinylium/y014/y014.html].</ref> The Belgian group [[Dive (Belgian band)|Dive]] also anticipated the style in the early '90s.<ref name=hymen/><ref>Nancy Kilpatrick, ''The Goth Bible: A Compendium for the Darkly Inclined'', New York: St. Martin's Griffin, 2004, chapter 5, "Music of the Macabre," p. 87.</ref> Power noise groups meld noise music with various forms of [[electronic dance music]]. The term "power noise" was coined by Raoul Roucka of [[Noisex]] in 1997, with the track "United (Power Noise Movement)".<ref>[http://www.discogs.com/release/127104 Noisex, ''Over and Out'', ''Discogs'']</ref><ref>Vlad McNeally, review of Noisex, ''ReGen Magazine'', November 29, 2007. [http://www.regenmag.com/Reviews-1193-Noisex-Brain-on-Rotation.html]</ref> Typically, power noise is based upon a distorted kick drum from a drum machine such as a Roland TR-909, uses militaristic 4/4 beats, and is usually instrumental. Sometimes a melodic component is added, but this is almost always secondary to the rhythm. Power noise tracks are typically structured and danceable, but are occasionally abstract. This genre is showcased at the annual [[Maschinenfest]] festival in Krefeld, Germany, as well as at [[Infest (festival)|Infest]] in Bradford, UK. Other artists include [[Imminent Starvation]], [[Axiome]], [[Converter]], and [[Terrorfakt]]. The German labels [[Ant-Zen]] and [[Hands Productions]] specialize in the style. ''Technoid'' grew out of the scene, taking inspiration from [[Intelligent Dance Music|IDM]], experimental techno and noise music. German label [[Hymen Records]] is responsible for the term and the style. Artists include [[Gridlock]], [[Black Lung]], and [[Xingu Hill]].
===Witch house===
{{main|Witch house}}
'''Witch house''' is a debated term referring to a fusion genre of [[industrial music]] that features a prominent [[hip-hop]] influence, specifically the 1990s Houston [[chopped and screwed]] sound pioneered by [[DJ Screw]].<ref>{{cite web|url=http://pitchfork.com/features/articles/7806-ghosts-in-the-machine/ |title=Ghosts in the Machine |publisher=Pitchfork |date=2010-05-24 |first=Joe |last=Colly}}</ref><ref name="nashvillescene">{{cite web|last=Rodgers |first=D. Patrick |url=http://www.nashvillescene.com/nashvillecream/archives/2010/08/25/new-genre-alert-which-house-witch-house |title=‘New’ ‘Genre’ Alert: Which House? Witch House |publisher=Nashville Scene |date=2010-08-25}}</ref> Witch house consists of applying techniques rooted in [[Swishahouse]] hip-hop – drastically slowed tempos with skipping, [[stop-time]]d beats<ref>http://exclaim.ca/Features/Spark/translator-witch_house</ref> – with signifiers of [[noise music|noise]], [[drone music|drone]], or [[shoegaze]], the genre recontextualizes its forebears into a sinister, unprecedented, yet aesthetically referential atmosphere.<ref>{{cite web|last=Watson |first=William Cody |url=http://www.imposemagazine.com/bytes/slow-motion-music |title=Slow Motion Music |publisher=Impose Magazine |date=2010-09-12}}</ref> Witch house is also influenced by hazy 1980s [[Gothic rock|goth]] bands, including [[Cocteau Twins]], [[The Cure]] and [[Dead Can Dance]],<ref name="guarding">{{cite news|last=Wright |first=Scott |url=http://www.guardian.co.uk/music/musicblog/2010/mar/08/scene-heard-drag |title=Scene and heard: Drag |publisher=Guardian |date=2010-03-09 |location=London}}</ref> as well as being heavily influenced by certain early [[industrial music|industrial]] bands.<ref>http://flavorwire.com/118771/haunted-a-witch-house-primer#more-118771</ref><ref>http://www.nypress.com/article-21562-brooklyns-vanishing-witch-house.html</ref> The use of hip-hop drum machines, noise atmospherics, creepy samples,<ref>http://nyulocal.com/entertainment/2011/02/01/the-witch-house-debate-is-%E2%80%A0he-music-genre-wor%E2%80%A0h-%E2%88%86-lis%E2%80%A0en/</ref> [[synthpop]]-influenced lead melodies, and heavily altered or distorted vocals is also common.
==Sales==
Without a doubt, the best-selling offshoot of industrial music is industrial metal; Ministry and Nine Inch Nails both recorded platinum-selling albums.<ref name=riaa/> Their success led to an increase in commercial success for some other post-industrial musicians; for example, the Nine Inch Nails remix album ''[[Further Down the Spiral]]'', which included contributions from [[Foetus]] and [[Coil]], was certified gold in 1996.<ref name=riaa>RIAA Gold and Platinum searchable database. [http://www.riaa.com/goldandplatinumdata.php?table=SEARCH]</ref>
==See also==
*[[Dark wave]]
*[[Grindcore]]
*[[Rivethead]]
*[[Surrealist music]]
*[[Electropunk]]
{{clear}}
==References==
{{Reflist|colwidth=30em}}
==Further reading==
{{Refbegin|colwidth=60em}}
*Paul Hegarty, ''Full With Noise: Theory and Japanese Noise Music'', pp. 86–98 in ''Life in the Wires'' (2004) eds. Arthur Kroker & Marilouise Kroker, NWP Ctheory Books, Victoria, Canada
*Paul Hegarty, ''Noise/Music: A History'' (2007) Continuum International Publishing Group
*Douglas Kahn, ''Noise, Water, Meat: A History of Sound in the Arts'' (1999) MIT Press
*Brandon LaBelle, ''Background Noise: Perspectives on Sound Art'' (2006) New York and London: Continuum International Publishing
*Dan Lander and Lexier Micah, (eds.) ''Sound by Artists'' (1990) Toronto: Art Metropole/Walter Phillips Gallery
*Alan Licht, ''Sound Art: Beyond Music, Between Categories'' (2007) New York: Rizzoli
*Thurston Moore, ''Mix Tape: The Art of Cassette Culture'' (2004) Universe
*Joseph Nechvatal, ''Towards a Sound Ecstatic Electronica'' (2000) The Thing [http://post.thing.net/node/1981]
*Amanda Petrusich, [http://www.pitchforkmedia.com/article/feature/45431-interview-lou-reed] Pitchfork net [[Lou Reed]] Interview
*Jim Samson, ''Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920'' (1977) New York: W.W. Norton & Company
*Brett Woodward (ed.), ''Merzbook: The Pleasuredome of Noise'' (1999) Melbourne, Cologne: Extreme
{{Refend}}
==External links==
* [http://noise.alphamanbeast.com/ alphamanbeast's noise directory]
* [http://www.insurgent-inc.com Insurgent Inc]
* [http://rarevinyl.net/experimental.htm] The Birth of Experimental Music (pop music/experimental)
{{Industrial music-footer}}
{{Avant-garde}}
{{Western music genres}}
{{DEFAULTSORT:Post-Industrial Music}}
[[Category:Genres]]
[[Category:Industrial music]]