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Until Nine Inch Nails crossed over to the mainstream, Ministry did more than any other band to popularize industrial dance music, injecting large doses of punky, over-the-top aggression and roaring heavy metal guitar riffs that helped their music find favor with metal and alternative audiences outside of industrial’s cult fan base. That’s not to say Ministry had a commercial or generally accessible sound: they were unremittingly intense, abrasive, pounding, and repetitive, and not always guitar-oriented (samples, synthesizers, and tape effects were a primary focus just as often as guitars and distorted vocals). However, both live and in the studio, they achieved a huge, crushing sound that put most of their contemporaries in aggressive musical genres to shame; plus, founder and frontman Al Jourgensen gave the group a greater aura of style and theater than other industrial bands, who seemed rather faceless when compared with Jourgensen…Ministry was formed in 1981 by Alain Jourgensen (born Oct. 8, 1958, Havana, Cuba); he had moved to the U.S. with his mother while very young and lived in a succession of cities, eventually working as a radio DJ and joining a new wave band called Special Affect (fronted by future My Life With the Thrill Kill Kult leader Frankie Nardiello, aka Groovie Mann). Featuring drummer Stephen George, Ministry debuted with the Wax Trax! single “Cold Life,” which — typical of their early output — was more in the synth pop/dance style of new wavers like the Human League or Thompson Twins. The album With Sympathy appeared on the major label Arista in 1983 and followed a similar musical direction, one that Jourgensen was dissatisfied with; he returned to Wax Trax! and recorded several singles while rethinking the band’s style and forming his notorious side project the Revolting Cocks.

In 1985, with Jourgensen the only official member of Ministry, the Adrian Sherwood-produced Twitch was released by Sire Records; while not as aggressive as the group’s later, more popular material, it found Jourgensen taking definite steps in that direction. Following a 1987 single with Skinny Puppy’s Kevin Ogilvie (aka Nivek Ogre) as PTP, Jourgensen once again revamped Ministry, with former Blackouts bassist Paul Barker officially joining the lineup to complement Jourgensen’s rediscovery of the guitar; fellow ex-Blackouts William Rieflin (drums) and Mike Scaccia (guitar), as well as vocalist Chris Connelly, were heavily showcased as collaborators for the first of several times on 1988’s The Land of Rape and Honey. With Jourgensen and Barker credited as Hypo Luxa and Hermes Pan, respectively, this album proved to be Ministry’s stylistic breakthrough, a taut, explosive fusion of heavy metal, industrial dance beats and samples, and punk aggression. 1989’s The Mind Is a Terrible Thing to Taste built on its predecessor’s artistic success, and In Case You Didn’t Feel Like Showing Up was recorded on its supporting tour, introducing other frequent Ministry contributors like drummer Martin Atkins (later of Pigface) and guitarist William Tucker (as well as featuring a guest shot from Jello Biafra). Jourgensen next embarked on a flurry of side projects, including the aforementioned Revolting Cocks (with Barker, Barker’s brother Roland, Front 242 members Luc Van Acker and Richard 23, and many more), 1000 Homo DJs (with Biafra, Rieflin, and Trent Reznor), Acid Horse, Pailhead (with Ian MacKaye), and Lard (again with Biafra, Paul Barker, Rieflin, and drummer Jeff Ward).

In late 1991, Ministry issued the single “Jesus Built My Hotrod,” a driving rocker featuring manic nonsense vocals by co-writer Gibby Haynes of the Butthole Surfers; its exposure on MTV helped build anticipation for the following year’s full-length Psalm 69 (subtitled The Way to Succeed & the Way to Suck Eggs, although the only title that appears on the album consists of a few Greek letters and symbols). The record reached the Top 30 and went platinum, producing two further MTV hits with “N.W.O.” and “Just One Fix,” and Ministry consolidated its following with a spot on the inaugural Lollapalooza tour that summer (joined by new guitarist Louis Svitek). However, drug and legal problems sidelined the band in the wake of its newfound popularity, resulting in the clouded Filth Pig being released in 1995, too late to capitalize on their prior success. More problems with drugs and arrests followed, and Jourgensen returned to some of his side projects, recording a new album with Lard, among others. In 1999, the new single “Bad Blood” was featured prominently in the sci-fi special-effects blockbuster film The Matrix, setting the stage for the release of Dark Side of the Spoon (the title a reference to the band’s heroin problems) later that summer. Guitarist William Tucker committed suicide in May 1999. The band was nominated for a Grammy in 2000 for “Bad Blood,” but they lost to Black Sabbath and were dropped from Warner Bros. around the same time. They were also added to the Ozzfest tour, but they were kicked off before it even began because of a management change. To compound their sorrows, Ipecac Records announced three live albums to be released with material from the Psalm 69 tour being the main focus, but they only had a verbal agreement and when Warner Bros. caught wind of the project they stamped it out despite already having the CDs ready for printing. In 2001, the band filmed a scene for Steven Spielberg’s A.I. and released the song from the film on a greatest-hits album, appropriately titled Greatest Fits. The song received a decent amount of promotion, but the single went nowhere and the group signed to Sanctuary Records later in the year. While recording new material, they released the Sphinctour album and DVD in the spring of 2002 to satisfy rabid fans who were disappointed by the Ipecac situation. The next spring, Animositisomina was released, advertised as a return to the Psalm 69 style of songwriting and featuring a cover of Magazine’s “The Light Pours Out of Me.” Houses of the Molé followed in June 2004. In September 2005 Ministry celebrated their 25th anniversary with Rantology. Jourgensen remixed such past hits as “Jesus Built My Hotrod” and “N.W.O. for the set; it also included live material, rarities, and the new track “Great Satan.” An extensive tour with Revolting Cocks in tow followed.

L’industrial metal è un genere musicale che unisce le tecniche vocali e strumentali del metal con quelle della musica elettronica.

Diffuso sia negli Stati Uniti che in Europa, questo genere di musica annovera tra i principali esponenti, oltre a capostipiti quali gli statunitensi Ministry, Nine Inch Nails e Fear Factory, i tedeschi Rammstein e i norvegesi The Kovenant.

Storia del genere

Alla fine degli anni Settanta, alcuni gruppi che suonavano principalmente Rock, iniziarono ad alternare melodie del loro genere a sonorità pop ed elettroniche. Tra tali gruppi, si possono citare i Throbbing Gristle.

L’Industrial divenne un vero e proprio sottogenere del Metal quando, nel 1976, venne fondata l’etichetta discografica Industrial Records.

Successivamente, all’inizio degli anni ’80, il movimento Industrial si sviluppo maggiormente in Germania, con la nascita di band come Ministry e Laibach (in seguito KMFDM), destinate però a rimanere nell’Underground tedesco.

All’inizio degli anni Novanta, questo genere ebbe sviluppo notevole, con l’avvento di gruppi come Nine Inch Nails e Rammstein (i cui componenti provenivano da i Feeling B. e gruppi simili); di conseguenza si affermò sullo scenario internazionale, diventando uno dei sottogeneri più importanti del Metal moderno.

Tutt’ora l’Industrial Metal è un genere riconosciuto in ambito internazionale, grazie agli artisti sopraelencati, e grazie alle influenze prodotte su gli altri sottogeneri del metal


Molti musicisti nu metal sono stati influenzati da questo genere, e tra questi anche i Korn, ritenuti i fondatori del nu metal – , soprattutto nel loro ultimo album See You On The Other Side.

In tale contesto possiamo citare anche i Coal Chamber, gli Static-X e i Powerman 5000, tra i gruppi di genere ad avere una spiccata componente industrial.

Importanti gruppi industrial metal

* Acumen Nation
* American Head Charge
* Betty X
* Bile
* Chemlab
* Circle of Dust
* Cubanate
* Cult of Luna
* Cyanotic
* Die Krupps
* Dust to Dust


* Eisbrecher
* Fear Factory
* Genitorturers
* Godflesh
* Head of David
* Hypofixx
* Inner Surge
* Jerk
* jesu
* KeeN
* Killing Joke
* Klank
* Klutæ
* The Kovenant
* Machinae Supremacy
* Megaherz
* Ministry
* Misery Loves Company
* Mnemic
* Neon Synthesis
* Peace, Love & Pitbulls
* Pig
* Pitchshifter
* Rammstein
* Rob Zombie
* Samael
* Slick Idiot
* Sister Machine Gun
* Skrew
* Static-X
* Strapping Young Lad
* Swamp Terrorists
* T3chnophob1a
* Testify
* The Young Gods
* Treponem Pal
* Turmion Kätilöt
* Unheilig
* Vargotah
* Velcra
* Voivod
* Waltari
* White Zombie
* Zeni Geva
* Zeromancer

Voci correlate

* Nu Metal

Collegamenti esterni

* Rammstein
* KeeN
* Deathstars
* T3chnophob1a
* The Kovenant
* Top Metal

The most abrasive and aggressive fusion of rock and electronic music, industrial was initially a blend of avant-garde electronics experiments (tape music, musique concrète, white noise, synthesizers, sequencers, etc.) and punk provocation. As industrial evolved, its avant-garde influences became far less important than its pounding, relentless, jackhammer beats, which helped transform it into a darker alternative to the hedonism of mainstream dance music. Industrial’s trademark sound was harsh and menacing, but its rage was subordinate to the intentionally mechanical, numbingly repetitive qualities of the music, which fit the lyrics’ themes of alienation and dehumanization quite well. In the early ’90s, Ministry and Nine Inch Nails took their variations on industrial to wider alt-rock and metal audiences, but a substantial number of industrial artists chose to remain underground. The first group of industrial bands — England’s Throbbing Gristle and Cabaret Voltaire, and Germany’s Einsturzende Neubauten — were initially as much about beyond-edgy performance art as they were music. The second generation of industrial artists — including Skinny Puppy, Front 242, and Nitzer Ebb — added pummeling dance beats to their predecessors’ confrontational sounds, for a substyle often referred to as electronic body music (centered around labels like Wax Trax). Meanwhile, bands like Ministry and KMFDM added metal-guitar riffs, which helped Ministry break through to a wider audience in the late ’80s and early ’90s; similarly, Nine Inch Nails’ Trent Reznor added more traditional song structures, and made his own persona the focal point, giving the music a rare human presence and becoming a star in the process. This more widely appealing strain of industrial continued to influence alternative metal throughout the ’90s. Still, after industrial metal began to fade, a near-exclusively electronic form of industrial dance continued to thrive as an uncompromisingly underground style, with many artists coming from the U.S. and Germany


2 Risposte to “Industrial”

  1. Bush is forever saying that democracies do not invade other countries and start wars. Well, he did just that. He invaded Iraq, started a war, and killed people. What do you think? Is killing thousands of innocent civilians okay when you are doing a little government makeover?
    Our country is in debt until forever, we don’t have jobs, and we live in fear. We have invaded a country and been responsible for thousands of deaths.
    The more people that the government puts in jails, the safer we are told to think we are. The real terrorists are wherever they are, but they aren’t living in a country with bars on the windows. We are.

  2. Hi,
    I don’t know’ thing centers this with the kind industrial.
    However said by an American (I think) not and’ uina novelty!’
    Even to me’ it likes bush.


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