Front 242! when I heard Aggresiva, I couldnt stop plying it over and over again!
dj Angztek >THE ILLUSTRIOUS WEAPONS OF BENEVOLENCE

great post!

whoa...
I think I just got schooled.
-DOTD

I just remember to ask the experts [Dante and/or adoc] why does noise/power noise and psychobilly gets combined with the gothic and industrial/ebm club nights? I ask this because I don't think they have anything in common. It would be like having Slayer and The Cramps play together. Please don't take this personal...

Project Pitchfork?!!?

HELL fucking yeah! Especially *early* Project Pitchfork, which at times sounds like a thrashing version of electronic-EBM'dustrial. I can definitely see where Apop would have learned a thing or two from P.Pitchfork's earlier material.

How many albums do they have now? 18?

--G.D.

Great!
To pick a handful
NitzerEbb(Holy Holy), front242,FLA,SITD,SovietRadio,Informatik,Accessory,AndOne,Assemblage23,BebornBetorn
Combichrist,Covenant,DasIch(Woohoo),ElectroSyntheticRebellion,Feindflug,Haujobb,
Hocico,Laibach,ImperativeReaction,SuicideCommando,Melotron,Novakill,RunlevelZero(Kick a$$) etc

If anyone is interesting in sharing the ebm's, Please let me know:) We can swap or share some interesting albums.

Yeah I think Funker Vogt are EBM, in fact their one of my favourites.....and Suicide Commando he he

Electronic Body Music. The phrase was scratched into the inner ring of the early Front 242 12" EP 'No Comment".

The wikipedia page on EBM is a good one:
en.wikipedia.org/wiki/Elec...body_music

I personally don't consider Covenant EBM, but some people do. Covenant are Futurepop, which evolved from EBM. I consider Futurepop a separate genre, but some people consider Futurepop more a form/subgenre of EBM. That's really just a matter of personal opinion though.

EBM stands for: ELECTRO BODY MOVEMENT. Covenant is more like a futurepop/synthpop band but they're the best.

Thanks, Max/min, that wikepedia article was excellent.

Here it is reprinted for anyone who doesn't feel like going there:

Electronic body music
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Electronic body music
Stylistic origins: industrial music, electropunk
Cultural origins: Early 1980s, Belgium, United Kingdom, Germany, Canada
Typical instruments: synthesizer - drum machine - sequencer - keyboard - sampler
Mainstream popularity: Small
Derivative forms: new beat - goa trance - electro-industrial - dark electro
Subgenres
Other topics
List of electronic and industrial music artists

Electronic body music (mainly known by its acronym EBM) is a music genre that combines elements of industrial music and electronic punk music.

Emerging in the early-to-mid 1980s, the genre's early influences range from the industrial music of the time (Throbbing Gristle, Cabaret Voltaire), European electropunk (DAF, Liaisons Dangereuses, Portion Control) and straight-ahead electronic music (Kraftwerk).
Contents
[hide]

* 1 Characteristics
* 2 Etymology
* 3 History
o 3.1 1981-1993
o 3.2 Developments
o 3.3 The Revival
* 4 Influence
* 5 Notable EBM Artists
* 6 Samples
* 7 See also
* 8 References
* 9 External links

[edit] Characteristics
Inside covers of the 1988 Wax Trax! CD rerelease of No Comment by Front 242 including reprint of reference to electronic body music.
Inside covers of the 1988 Wax Trax! CD rerelease of No Comment by Front 242 including reprint of reference to electronic body music.

The style was characterized by hard and often sparse danceable electronic beats, clear undistorted vocals, shouts or growls with reverberation and echo effects, and repetitive sequencer lines. At this time important synthesizers were Korg MS-20, Emulator II, Oberheim Matrix or the Yamaha DX7. Typical EBM rhythms are based on 4/4 beats, mainly with some minor syncopation to suggest a rock music rhythm structure.

[edit] Etymology

The term electronic body music was coined by Ralf Hütter of the German electronic band Kraftwerk in 1978 to explain the more physical sound of their album The Man-Machine.[1]

The term was later used in its current sense by Belgian band Front 242 in 1984 to describe the music of their EP No Comment, released in the same year.[2]

A few years before, DAF from Germany used the term "Körpermusik" (body music) in an interview to describe their danceable electronic punk sound.

Another term that has been used to refer to EBM is aggrepo, a contraction of "aggressive pop", mainly used in Germany in the late 1980s.

[edit] History

[edit] 1981-1993

In the early 1980s artists like Front 242 and Nitzer Ebb (both influenced by acts such as Deutsch-Amerikanische Freundschaft, Cabaret Voltaire and Throbbing Gristle) started to combine German electropunk with elements of the British industrial music. The result of this mixture was a straight danceable sound that was called EBM back in 1984. Notable EBM albums include Front 242's "Official Version" and Nitzer Ebb's "That Total Age", both released in 1987. In the second half of the 1980s, American and Canadian music groups such as Front Line Assembly, Ministry[citation needed], Batz Without Flesh or Schnitt Acht started to use typical European EBM elements. They combined these elements with the roughness of American post-industrial music (Revolting Cocks).

Shortly after, a handful of bands such as Nine Inch Nails created a more rock-oriented style under the influence of EBM synths and sequences. The most well-known result was released in 1989 under the name Head Like A Hole.

Meanwhile EBM became popular in the underground club scene, particularly in Europe. In this period the most important labels were the Belgian PIAS, Antler-Subway and KK Records, the German Animalized, Techno Drome International and Zoth Ommog, the North American Wax Trax! and the Swedish labels Front Music Production and Energy (later merged to Energy Rekords).

Other artists besides Front 242 and Nitzer Ebb were Die Krupps, Vomito Negro, Signal Aout 42, Insekt, Force Dimension, Bigod 20 and Electro Assassin.

A few other groups were A Split-Second (a Belgian electro-rock/new beat act), AAAK, The Weathermen, The Klinik, Borghesia, The Neon Judgement, Attrition or Philadelphia Five. These acts produced some genre-typical songs, although they were not EBM groups.

Between the early and the mid 1990s, many EBM artists split up or changed their musical style and began to borrow more distorted industrial elements or elements of rock music or metal. The album Tyranny For You and following albums from the pioneers Front 242 initiated the end of the EBM epoch of the 1980s. Nitzer Ebb, one of the most important artists, became a simply electronic rock band. Without the strength of its figureheads, the original electronic body music finally faded by the mid-1990s.

[edit] Developments

New groups, such as Leæther Strip, :wumpscut:, and Suicide Commando, combined harsh distorted beats with synthesizer-driven melodies. What to term this evolution of the EBM genre is somewhat controversial, with artists, labels, and the music press using either simply the term EBM, or else alternate terms such as electro-industrial, [3] or especially in Germany and South America, elektro. Other notable artists of this era include Allied Vision, Psychopomps, Controlled Fusion, early Decoded Feedback, and NVMPH.

A second developed genre at this time was dark electro. Dark electro combined sinister electronic soundscapes with grunts or growling vocals with a special attention to despair. Important artists were yelworC, Mortal Constraint, Trial, and Tri-state.

[edit] The Revival

In the late 1990s and after the millennium, especially Swedish and German groups such as Spetsnaz, Dupont, C.A.P. and Proceed have gone the way by reproducing the old EBM style with some releases in the new millennium.

[edit] Influence

Some EBM artists also had an influence on many New beat and Goa trance artists (e.g. Juno Reactor, Astral Projection, Eon Project).

By the late 1990s, a number of artists from the European techno scene, such as Terence Fixmer, Thomas P. Heckmann and David Carretta, started including more elements of EBM in their sound. In the United States, Adam X moved in the same direction. This tendency grew in parallel with the emerging electroclash scene and, as that scene started to decline, a number of artists associated with it, particularly The Hacker, moved towards this techno/EBM crossover style.

There has been increasing convergence between this scene and the old school EBM scene. Bands and artists have remixed each other and, most notably, Terence Fixmer joined with Nitzer Ebb's Douglas McCarthy to form Fixmer/McCarthy.

Since I was actually around spinning this stuff at the time. I thought I'd add a couple more of my faves here. The early Test Department stuff was brilliant. Specifically Compulsion and Beating the Retreat. I kind of skimmed through the list so I don't know if these were mentioned or not. But Scraping Foetus off the wheel - Hole and Nail should probably figure on this list somewhere. As well as Fad Gadget... These might be more"Industrial" than "EBM" or maybe even pre-EBM, it seems like everyone has a slightly different definition, not to mention the definitions change over time.

~SP

Currently having fun tracking down all this old stuff and going broke in the process. It's all good, I need to lose weight anyway.