Power electronics (music)
| Power electronics | |
|---|---|
| Stylistic origins | Industrial music, noise music |
| Cultural origins |
Early 1980s, United Kingdom Mid 1980s, Germany |
| Typical instruments | Synthesizer, drum machine, tape loops, sampler, modified electronics, keyboard |
| Fusion genres | |
| Death industrial | |
| Other topics | |
| Post-industrial music | |
Power electronics was originally coined by William Bennett as part of the sleevenotes to the Whitehouse album Psychopathia Sexualis, and is related to the early Industrial Records scene but later became more identified with noise music.[1] It consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds, and screamed, distorted, often hateful and offensive lyrics. Deeply atonal, there are no conventional melodies or rhythms.[2] Artists include Philip Best, early Ramleh, Slogun, Deathpile, Bloodyminded, Genocide Organ, Prurient, Sutcliffe Jügend.
Tellus Audio Cassette Magazine produced a compilation compact cassette tape called Power Electronics in 1986 that was curated by Joseph Nechvatal.[3]
Death industrial
Death industrial is an industrial subgenre typified by a dense atmosphere, low-end drones, harsh loops and screamed and/or distorted vocals. It can be differentiated from power electronics by a slower, more atmospheric sound reminiscent of dark or ritual ambient, and a less abrasive sound.[4] Artists described as death industrial include Brighter Death Now, Anenzephalia, Atrax Morgue, Aelia Capitolina, Author & Punisher, Genocide Organ, Hieronymus Bosch, Stratvm Terror, S.T.A.B. Electronics, IRM and Dead Man's Hill.
See also
References
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