IELTS Reading: Animal Behaviour

Industrial music (or simply industrial) is a subgenre of experimental music that emerged in the mid-to late 1970s, primarily inspired by industrial society, while drawing influences from avant-garde and early electronic music genres such as musique concrète, tape music, noise and sound collage. The term was coined in 1976 by Monte Cazazza and adopted by Throbbing Gristle with the founding of Industrial Records. Other early industrial musicians include NON and Cabaret Voltaire. By the late 1970s, additional artists emerged such as Clock DVA, Nocturnal Emissions, Einstürzende Neubauten, SPK, Nurse with Wound, and Z'EV, alongside Whitehouse who coined the subgenre "power electronics". During the 1980s, following the disbanding of Throbbing Gristle, industrial music splintered into a range of offshoots collectively labelled "post-industrial music", these included, EBM, new beat, hard beat, dark ambient, neofolk, power noise, industrial dance, electro-industrial, dark electro, aggrotech, industrial rock, industrial metal, cyber metal, Neue Deutsche Härte, martial industrial, industrial hip-hop and industrial techno. By the 1990s, elements of industrial music were made accessible to mainstream audiences through the popularity of acts such as Nine Inch Nails, Ministry, Rammstein, and Marilyn Manson, all of whom released platinum-selling records.

== Etymology == According to the Oxford English Dictionary, the genre was first named in 1942 when The Musical Quarterly called Dmitri Shostakovich's 1927 Symphony No. 2 "the high tide of 'industrial music'." Similarly, in 1972, The New York Times described works by Ferde Grofé (especially 1935's A Symphony in Steel) as part of "his 'industrial music' genre [that] called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatic drill and a compressed-air tank". Though these compositions are not directly tied to what the genre would become, they are early examples of music designed to mimic machinery noise and factory atmosphere. Italian Futurist Luigi Russolo laid the groundwork for industrial music with his book and work The Art of Noises (1913), which aimed to reflect "the sounds of a modern industrial society".

== Characteristics == Industrial music was a response to "an age [in which] the access and control of information were becoming the primary tools of power," defined primarily as a musical reflection of post-industrial society, with its rampant use of contemporary technology and incorporation of unconventional modernist lyricism and themes not commonly found in popular music. Industrial artists drew influence from modernist literature, art, philosophy and avant-garde music, rejecting formal rock music conventions, with Industrial Records wanting to use the term "industrial" to evoke the idea of music created for a new generation. Artist Genesis P-Orridge stated:

[...] there's an irony in the word 'industrial' because there's the music industry. And then there's the joke we often used to make in interviews about churning out our records like motorcars, that sense of industrial. And [...] up till then the music had been kind of based on the blues and slavery, and we thought it was time to update it to at least Victorian times—you know, the Industrial Revolution. Early industrial music made by groups such as Cabaret Voltaire and Throbbing Gristle, featured tape editing, stark percussion, vocal effects and loops which were distorted. Throbbing Gristle opposed traditional rock music structures associated with the punk rock scene, declaring industrial to be "anti-music." Early industrial performances often involved taboo-breaking, provocative elements, such as mutilation, sado-masochistic elements and totalitarian imagery or symbolism, as well as forms of audience abuse, such as Throbbing Gristle's aiming high powered lights at the audience. Artists often played in non-traditional ways, incorporating the use of homemade instruments, such as Chris Carter of Throbbing Gristle who invented a device named the "Gristle-izer", played by Peter Christopherson, which consisted of a one-octave keyboard and a number of cassette machines triggering various pre-recorded sounds. Cabaret Voltaire's Chris Watson custom-built a fuzzbox for Richard H. Kirk's guitar, which produced a unique timbre. Carter built speakers, effects units, and synthesizer modules, as well as modifying more conventional rock instrumentation, for Throbbing Gristle. Cosey Fanni Tutti played guitar with a slide in order to produce glissandi, or pounded the strings as if it were a percussion instrument. Throbbing Gristle also played at very high volume and produced ultra-high and sub-bass frequencies in an attempt to produce physical effects, labelling this approach as "metabolic music". AllMusic defines industrial music as the "most abrasive and aggressive fusion of rock and electronic music". Industrial groups typically focus on transgressive subject matter. In his introduction for the Industrial Culture Handbook (1983), Jon Savage considered some hallmarks of industrial music to be organizational autonomy, shock tactics, and the use of synthesizers and "anti-music." Furthermore, an interest in the investigation of "cults, wars, psychological techniques of persuasion, unusual murders (especially by children and psychopaths), forensic pathology, venereology, concentration camp behavior, the history of uniforms and insignia" and Aleister Crowley's magick was present in Throbbing Gristle's work, as well as in other industrial pioneers. William S. Burroughs's recordings and writings were particularly influential on the scene, particularly his interest in the cut-up technique and noise as a method of disrupting societal control. Many of the first industrial musicians were interested in, though not necessarily sympathetic with, fascism. Throbbing Gristle's logo was based on the lightning symbol of the British Union of Fascists, while the Industrial Records logo was a photo of Auschwitz.

In 1913, Italian Futurist Luigi Russolo laid the groundwork for industrial with his manifesto The Art of Noises (1913) which aimed to reflect "the sounds of a modern industrial society". Around the same time, the utilisation of found sound as a musical resource was starting to be explored. An early example is Parade, a performance produced at the Chatelet Theatre, Paris, on May 18, 1917, that was conceived by Jean Cocteau, with design by Pablo Picasso, choreography by Leonid Massine, and music by Eric Satie. The extra-musical materials used in the production were referred to as trompe l'oreille sounds by Cocteau and included a dynamo, Morse code machine, sirens, steam engine, airplane motor, and typewriters. Arseny Avraamov's composition Symphony of Factory Sirens involved navy ship sirens and whistles, bus and car horns, factory sirens, cannons, foghorns, artillery guns, machine guns, hydro-airplanes, a specially designed steam-whistle machine creating noisy renderings of Internationale and Marseillaise for a piece conducted by a team using flags and pistols when performed in the city of Baku in 1922. In 1923, Arthur Honegger created Pacific 231, a modernist musical composition that imitates the sound of a steam locomotive. Another example is Ottorino Respighi's 1924 orchestral piece Pines of Rome, which included the phonographic playback of a nightingale recording. Also in 1924, George Antheil created a work titled Ballet Mécanique with instrumentation that included 16 pianos, 3 airplane propellers, and 7 electric bells. The work was originally conceived as music for the Dada film of the same name, by Dudley Murphy and Fernand Léger, but in 1926 it premiered independently as a concert piece. In an essay written in 1937, John Cage expressed an interest in using extra-musical materials and came to distinguish between found sounds, which he called noise, and musical sounds, examples of which included: rain, static between radio channels, and "a truck at fifty miles per hour". Essentially, Cage made no distinction, in his view all sounds have the potential to be used creatively. His aim was to capture and control elements of the sonic environment and employ a method of sound organisation, a term borrowed from Varese, to bring meaning to the sound materials. Cage began in 1939 to create a series of works that explored his stated aims, the first being Imaginary Landscape #1 for instruments including two variable speed turntables with frequency recordings. In 1964, John Cale recorded the track "Loop" which consisted solely of audio feedback in a locked groove, it was released in 1966 as a single credited to the Velvet Underground, who were later noted as influential to industrial music. AMM, formed in 1965, were later retroactively recognized by AllMusic as precursors to industrial, writing that the "experimentation in sonic assault, noise, and chance sound (including transistor radios)" on their debut album AMMMusic (1967) would "reach the rock fringes in the work of industrial groups like Test Dept". Additionally, Cromagnon's album Orgasm (1969) has been cited by AllMusic's Alex Henderson as foreshadowing industrial with the track "Caledonia" resembling "a Ministry or Revolting Cocks recording from 1989". Other contemporaneous developments include the work of underground and psychedelic acts such as the Mothers of Invention, Intersystems, Musica Elettronica Viva, Red Krayola, and Fifty Foot Hose. In 1968, the Beatles' The White Album incorporated influences from musique concrète on track "Revolution 9", alongside George Harrison's Electronic Sound and John Lennon's avant-garde collaborations with Yoko Ono who had been a part of the New York Fluxus scene. Subsequently, Germany's krautrock scene would also be recognized as influential, the 1970 album Klopfzeichen by Kluster recorded in 1969 has been retroactively recognized as an early precursor of industrial music, alongside the early works of kosmische musik band Cluster, which XLR8 magazine described as having "a profound impact on industrial music's brainier practitioners". Writer Alexei Monroe argues that Kraftwerk were particularly significant in the development of industrial music, as the "first successful artists to incorporate representations of industrial sounds into nonacademic electronic music." Additionally, New York band Suicide, formed in 1970, by Alan Vega and Martin Rev, were retroactively described by the Guardian as "equally influential on the industrial music [...] scenes that followed." The New York Times retroactively described the American avant-garde band the Residents, whose earliest demos date to 1969, as having "presaged forms of [...] industrial music".