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Post-industrial music
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".〔"... journalists now use 'industrial' as a term like they would 'blues.' - Genesis P-Orridge, ''RE/Search'' #6/7, p. 16.〕 These offshoots include fusions with noise music, ambient music, 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==
(詳細は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.〔V.Vale. ''Re/Search #6/7: Industrial Culture Handbook'', 1983.〕 Prominent industrial musicians include Throbbing Gristle, Cabaret Voltaire, Boyd Rice, SPK, and Z'EV.〔 Test Dept, Clock DVA, Nocturnal Emissions, Whitehouse,〔 Laibach, and The Leather Nun subsequently participated in the movement. German group Einstürzende Neubauten forged their own style, which mixed metal percussion, guitars and unconventional instruments (such as jackhammers and bones) in stage performances that often damaged the venues in which they played.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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