Industrial rock is a fusion genre that fuses industrial music and rock music. It initially originated in the 1970s, and drew influence from early experimental and industrial acts such as Throbbing Gristle, Einstürzende Neubauten and Chrome. Industrial rock became more prominent in the 1980s with the success of artists such as Killing Joke, Swans, and partially Skinny Puppy, and later spawned the offshoot genre known as industrial metal. The genre was made more accessible to mainstream audiences in the 1990s with the aid of acts such as Nine Inch Nails and Marilyn Manson, both of which have released platinum-selling records.
In 1976, English musician David Bowie collaborated with American musician Iggy Pop on his 1977 solo debut The Idiot.[5] Musically, the album is said to contain elements of industrial rock,[6] notably the closing track, "Mass Production", which contains numerous "proto-industrial noises" created using tape loops,[7] and is described by Hugo Wilcken as "early industrial electronica".[8]The Idiot has been described as having a major influence on Joy Division, who formed shortly before its release.[9] Joy Division were signed to the industrially themed label Factory Records which had been founded in 1978; their albums Unknown Pleasures (1979) and Closer (1980) heavily influenced the further development of industrial rock. Chrome has also been credited as the "beginning of industrial rock"[10] and their 1978 Half Machine Lip Moves was listed on Wire's "100 Records That Set The World On Fire (When No One Was Listening)".[11]
Chicago's Wax Trax! Records became a vanguard for the genre in the 1980s[26] and is credited for introducing it to the United States.[27]Ministry's 1988 album The Land of Rape and Honey, departed from the band's synthesizer-oriented sound for a rock style that drew from hardcore punk and thrash metal, while retaining electronic elements and samples.[28][29] Ministry frontman Al Jourgensen was also involved in multiple industrial rock side projects that were signed to Wax Trax!, including Revolting Cocks, 1000 Homo DJs and Pailhead.[30] Drawing heavy influences from the New York's no wave scene, Cop Shoot Cop incorporated two bass guitars with no guitars.[31]
Marilyn Manson released their album Antichrist Superstar in 1996, which was certified platinum by the RIAA two months after its release date.[39] In the United States, Antichrist Superstar sold at least 1,900,000 units.[40] Marilyn Manson's EP Smells Like Children was certified platinum in May 1998.[41] The band's third album Mechanical Animals went to number 1, dethroning Lauryn Hill's solo debut The Miseducation of Lauryn Hill and selling 223,000 copies in its first week in stores.[42] It was certified platinum by the RIAA in February 1999[43] and sold at least 1,409,000 copies in the United States.[44]Orgy also experienced mainstream success during the 1990s. The band's 1998 album Candyass was certified platinum by the RIAA in July 1999.[45] Orgy's cover of New Order's song "Blue Monday" went to number 56 on the Billboard Hot 100[46] and number 2 on the Dance Club Songs chart.[47] White Zombie experimented with industrial metal on its 1995 album Astro-Creep: 2000,[48] which was certified 2× platinum by the RIAA in March 1996.[49] White Zombie's vocalist Rob Zombie began creating pure industrial metal albums in his solo career. Rob Zombie's 1998 solo debut studio album Hellbilly Deluxe was certified 3× platinum by the RIAA less than two years after its release date.[50] In November 1999, Powerman 5000's album Tonight the Stars Revolt! was certified platinum by the RIAA.[51] The album sold at least 1,316,172 units in the United States.[52]
A large Industrial metal scene also emerged in Europe in the 20th century. The Industrial Metal band that manages to appeal to the largest audiences worldwide is Rammstein.
Other names have also proven successful in the European scene, including Pain, Deathstars, Dagoba, Eisbrecher, Gothminister and Godflesh.
^Weisbard, Eric (February 1996). "Sympathy for the Devil". Spin. Vol. 11, no. 11. Spin Media LLC. pp. 34–42, 96. ISSN0886-3032. Retrieved January 9, 2020 – via Google Books.