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Electronic body music
Electronic body music (EBM) is a genre of electronic music that combines elements of industrial music and synth-punk with elements of dance music. It developed in the early 1980s in Western Europe, as an outgrowth of both the punk and the industrial music cultures. It combines sequenced repetitive basslines, programmed disco rhythms, and mostly undistorted vocals and command-like shouts with confrontational or provocative themes.
The evolution of the genre reflected "a general shift towards more song-oriented structures in industrial as to a general turn towards the dancefloor by many musicians and genres in the era of post-punk." It was considered a part of the European new wave and post-punk movement and the first style that blended synthesized sounds with an ecstatic style of dancing (e.g. pogo).
EBM gained a stable following in the second half of the 1980s. Around that period, a youth-cultural scene emerged from EBM whose followers describe themselves as EBM-heads or (in North America) as rivetheads.
The term electronic body music was first used by Ralf Hütter of the German electronic band Kraftwerk in an interview with British music newspaper Sounds in November 1977. In June 1978 Hütter reused the phrase in an interview with WKSU radio (Kent, Ohio) to explain the more physical character of the Kraftwerk album The Man-Machine. Although the term originated in the late 1970s, it was not until the 1980s when it reappeared and started to come into popular use.
EBM stands for 'electronic body music', a term which only really came into use when the Brits and Belgians stepped into the 'sequencer business' with bands like Nitzer Ebb and Front 242. There you could find that sound again, where it was catchily picked up and labelled. In our days all these terms didn't exist, not 'industrial' nor 'post-punk'. [...] To us it was sequencer music, that was what we did.
— Jurgen Engler of Die Krupps
In 1981, DAF from Germany employed the term "Körpermusik" (body music) to describe their danceable electronic punk sound. The term "electronic body music" was later used by Belgian band Front 242 in 1984 to describe the music of their EP of that year titled No Comment.
Described as an outgrowth of "electronically generated punk [music] intertwined with industrial sounds," EBM has been characterized as a composite of programmed drum beats, repetitive basslines, and clear or slightly distorted vocals, instructional shouts or growls complemented with reverberation and echo effects. Typical EBM rhythms rely on the 4/4 disco beat or rock-oriented backbeats, (featuring kick drum, snare and hi-hat) and some minor syncopation.
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Electronic body music
Electronic body music (EBM) is a genre of electronic music that combines elements of industrial music and synth-punk with elements of dance music. It developed in the early 1980s in Western Europe, as an outgrowth of both the punk and the industrial music cultures. It combines sequenced repetitive basslines, programmed disco rhythms, and mostly undistorted vocals and command-like shouts with confrontational or provocative themes.
The evolution of the genre reflected "a general shift towards more song-oriented structures in industrial as to a general turn towards the dancefloor by many musicians and genres in the era of post-punk." It was considered a part of the European new wave and post-punk movement and the first style that blended synthesized sounds with an ecstatic style of dancing (e.g. pogo).
EBM gained a stable following in the second half of the 1980s. Around that period, a youth-cultural scene emerged from EBM whose followers describe themselves as EBM-heads or (in North America) as rivetheads.
The term electronic body music was first used by Ralf Hütter of the German electronic band Kraftwerk in an interview with British music newspaper Sounds in November 1977. In June 1978 Hütter reused the phrase in an interview with WKSU radio (Kent, Ohio) to explain the more physical character of the Kraftwerk album The Man-Machine. Although the term originated in the late 1970s, it was not until the 1980s when it reappeared and started to come into popular use.
EBM stands for 'electronic body music', a term which only really came into use when the Brits and Belgians stepped into the 'sequencer business' with bands like Nitzer Ebb and Front 242. There you could find that sound again, where it was catchily picked up and labelled. In our days all these terms didn't exist, not 'industrial' nor 'post-punk'. [...] To us it was sequencer music, that was what we did.
— Jurgen Engler of Die Krupps
In 1981, DAF from Germany employed the term "Körpermusik" (body music) to describe their danceable electronic punk sound. The term "electronic body music" was later used by Belgian band Front 242 in 1984 to describe the music of their EP of that year titled No Comment.
Described as an outgrowth of "electronically generated punk [music] intertwined with industrial sounds," EBM has been characterized as a composite of programmed drum beats, repetitive basslines, and clear or slightly distorted vocals, instructional shouts or growls complemented with reverberation and echo effects. Typical EBM rhythms rely on the 4/4 disco beat or rock-oriented backbeats, (featuring kick drum, snare and hi-hat) and some minor syncopation.
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