Electronic Body Music

Cover art for "Next Wave Acid Punx" by Eskimo Recordings (2021)

Other names

EBM, Body Music

Decade of origin

1980s

Creator/s

DAF, Front 242

Key motifs

Military-inspired fashion, command-like lyrics, industrial workwear, dark and monochromatic color palettes, fetish gear, working-class imagery

Key colours

Black, red, white, dark blue

Key values

Individuality, confrontational, provocative, subversion of political symbology

Related aesthetics

Electronic Body Music (EBM) is an electronic music genre that combines elements of industrial music and synth-punk with elements of dance music. It developed in the early-1980s in Belgium and Germany, as an outgrowth of both the punk and the industrial music subcultures.

The term "electronic body music" was first used in 1978 by Ralf Hütter, member of the German electronic music group Kraftwerk, to describe the new sound of their album The Man-Machine. In 1980, the German rock band D.A.F. used the term “Körpermusik” (i.e. “body music”) to evoke their simultaneously punk and electronic style. The term is later picked up by the Belgian band Front 242 to describe the music from their 1985 mini album No Comment.^[1] It combines sequenced repetitive basslines, programmed disco rhythms, and mostly undistorted vocals and command-like shouts with confrontational or provocative themes.^[2]

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 rivetheads (in North America).

History[]

Precursors[]

EBM's development stemmed from a combination of post-punk, industrial, and post-industrial music influences. Key artists in this lineage include The Normal, Suicide, DAF, Die Krupps, Killing Joke, Cabaret Voltaire, Throbbing Gristle, and Test Dept. Krautrock, Neue Deutsche Welle, and Berlin school artists like Kraftwerk and Tangerine Dream, particularly their use of electronic bass sequences, also contributed to the genre's foundation.

DAF, a German proto-EBM band, is credited with establishing the "muscles & machines" image that became central to EBM's aesthetic. "Warm Leatherette" by The Normal is considered an important early track in the development of this electrified version of punk, which influenced bands like Die Krupps, DAF, and Liaisons Dangereuses—music often described as proto-EBM. The use of sequencers, synthesizers, and drum machines was crucial in creating the danceable grooves and sound textures that broadened EBM's appeal.

Further influences include the synth-pop of The Human League and Fad Gadget, as well as the krautrock-inspired dance hit "I Feel Love" by Giorgio Moroder and Donna Summer. Daniel Bressanutti of Front 242 cited Tangerine Dream, Klaus Schulze, Kraftwerk, Throbbing Gristle, and Giorgio Moroder's sequencer-based electro-disco as influences.

Emergence[]

EBM emerged in the early 1980s in Germany and Belgium. Bands like DAF, Die Krupps, Liaisons Dangereuses, and Front 242 began to combine danceable rhythms and repetitive sequencer lines. Key synthesizers used during this period included the Korg MS-20, Roland SH-101, ARP Odyssey, Emulator II, and various Oberheim and Yamaha models. Notable early EBM tracks include "Verschwende deine Jugend," "Alle gegen alle," and "Der Mussolini" by DAF; "Wahre Arbeit, wahrer Lohn," "Goldfinger," and "Für einen Augenblick" by Die Krupps; "Etre assis ou danser," "Los niños del parque," and "Avant-après mars" by Liaisons Dangereuses; and "Body to Body," "U-Men," and "He Runs Too Fast for Us" by Front 242. Front 242 described their sound as a combination of Throbbing Gristle and Kraftwerk. Nitzer Ebb and Portion Control, influenced by DAF and Cabaret Voltaire, soon followed. Many groups from this era used socialist realist aesthetics with ironic and provocatory intent. Other significant early EBM artists included Pankow, Vomito Negro, Borghesia, The Neon Judgement, à;GRUMH..., A Split-Second, The Klinik, and Signal Aout 42.

Popularization[]

In the latter half of the 1980s, EBM spread internationally and gained significant popularity in several regions, including Canada (with Front Line Assembly), the U.S. (with Ministry, Revolting Cocks, and Schnitt Acht), Sweden (with Inside Treatment, Pouppée Fabrikk, and Cat Rapes Dog), and Japan (with 2nd Communication, DRP, and Soft Ballet). North American bands began incorporating EBM basslines with elements of hardcore punk and thrash metal, contributing to the development of industrial metal. Nine Inch Nails furthered this cross-pollination between EBM and rock with their album Pretty Hate Machine (1989).

EBM also found success in the underground club scene, particularly accross Europe. Key labels during this period included the Belgian Play It Again Sam and Antler-Subway, the German Zoth Ommog, the North American Wax Trax!, and the Swedish Energy Rekords. Notable acts of this era included And One, Armageddon Dildos, Bigod 20, Insekt, Scapa Flow, Orange Sector, Paranoid, and Electro Assassin.

Around this time, New Beat emerged in Belgium. The story goes that DJ Dikke Ronny accidentally slowed down an EBM track ("Flesh" by A Split-Second) at a Brussels nightclub, creating a new sound that blended EBM with the rising house and acid music coming from Chicago. This underground movement proved really successful in the Belgian nightlife scene.

While EBM's primary development occurred in specific centers within Western Europe, such as Belgium and Germany, its influence spread and resonated in other regions, contributing to the development of unique local scenes. In Spain, a notable crossover occurred with the Rúta Destroy scene in Valencia. Tracks like "The Fashion Party" by The Neon Judgement were particularly popular in the Valencia nightlife scene. The movement, closely related to mákina and hardcore techno music, played a key role in the evolution of Spanish club culture and the eventual emergence of techno music. As musician The Hacker notes, "Without EBM and Northern European synth-pop, and the Spanish clubs and DJs of the mid-80s, there would be no Techno."^[3]

Between the early and mid-1990s, many EBM artists either disbanded or shifted their musical direction, incorporating more elements of rock, heavy metal, and electronica. Front 242's album 06:21:03:11 Up Evil is often seen as marking the end of the classic EBM era. Nitzer Ebb, a leading force in the genre, transitioned into alternative rock. Without these prominent artists driving the genre, EBM as a distinct music scene began to fade by the mid-1990s.

Revivals[]

In the late 1990s and after the millennium, artists from Belgium, Sweden, and Germany, including Ionic Vision, Tyske Ludder, and Spetsnaz, revived the EBM style. This revival, centered primarily in Sweden and East Germany, generated numerous new acts. Often described as "old school EBM," these artists maintained a neo-traditionalist approach, partly as a reaction against the growing futurepop scene.

Concurrently, some European techno producers began integrating EBM elements into their music. This trend developed alongside the electroclash scene, and as electroclash declined, artists like The Hacker, DJ Hell, Green Velvet, Black Strobe, and David Carretta, some of whom had been associated with electroclash, shifted toward this techno/EBM hybrid style.

A growing convergence has occurred between the "old school EBM" and the techno/EBM crossover scenes. Remixes have been exchanged between artists from both scenes. A prominent example of this convergence is the collaboration between Terence Fixmer and Nitzer Ebb's Douglas McCarthy, resulting in the project Fixmer/McCarthy.

Visuals[]

Dentrado kaj Martelo.svg — The hammer and cogwheel has become one of the most representative symbols of Electronic Body Music.

EBM's visual aesthetic draws heavily from industrial music and punk's transgressive approach. Provocative and often extreme imagery is common, sometimes including Nazi or Soviet-era symbology. This use of propagandistic imagery is often intended to be confrontational and thought-provoking, though it has generated debate due to its ambiguous nature and potential for misinterpretation. Some artists, like Laibach (Neue Slowenische Kunst), embrace this ambiguity, while others, like Nitzer Ebb, have explained their use of such imagery as a means to challenge and engage their audience, drawing inspiration from striking designs of 1930s and 40s German and Soviet artwork and propaganda.

Military-inspired clothing and imagery are prominent in EBM, contributing to a "part-human, part-machine" aesthetic often associated with transhumanist or cyberpunk themes. This military style, along with other elements, can project a hyper-masculine image, with displays of "triumphalism, combat postures, and paranoia." However, some artists, like DAF, have stated that their use of military and fetish-inspired clothing is not an expression of machismo ideology but rather a performative role, drawing inspiration from the male homosexual S&M scene.

Beyond military themes, some EBM bands also incorporate elements of goth imagery, creating a blend of militarism and goth aesthetics.^[4] This mix can be seen in the stage presence of bands like DAF and Front 242, who combined military regalia with hints of sadomasochism, while other groups, such as Borghesia, Skinny Puppy, and Placebo Effect, leaned more heavily into goth-influenced visuals. The "hammer and cogwheel," a symbol associated with the working class, also appears frequently in EBM iconography.

The genre frequently projects a masculine image of power, strength, force, brutality, aggression, and military-grade efficiency. Wartime propaganda art and iconography are also common visual and lyrical themes. Although EBM often uses imagery associated with communism and fascism, particularly German military history and iconography, the genre's overall message is typically anti-fascist. This use of potentially problematic imagery is often intended to be ironic or provocative, similar to punk subculture's use of the swastika. The artwork of Aiden Hughes, particularly his "Brute!" style, is closely associated with EBM, especially with bands like KMFDM. This aesthetic, combined with the lyrical themes, can create an unsettling atmosphere, but the intent is usually more akin to the satirical, over-the-top fascism depicted in films like Starship Troopers than an actual endorsement of fascist ideology.^[5]

Impact[]

Rivethead Subculture[]

Main article: Rivethead

TheWebsite — Screenshot from a Rivethead subcultural website.

The Rivethead subculture, present primarily in the United States and Canada, is closely associated with industrial music, including EBM. Originally a pejorative term, "Rivethead" has become a self-identifier for many within this scene. Rivethead style blends elements of punk, goth, cyberpunk, and even medieval fantasy. Common fashion elements include shaved or skinhead hairstyles, military-inspired clothing (such as jackboots, epaulettes, and trench coats), and accessories like studs, chains, belts, zippers, and metal mesh. While the aesthetic often projects an image of martial aggression, Rivetheads are not typically known for violence, except in opposition to actual neo-Nazis. Despite some overlap in club attendance and shared fashion influences, a friendly rivalry exists between Rivetheads and Goths.

Music[]

EBM's lyrical and thematic content often explores politically charged subjects, including totalitarian systems, oppressive social conformity, and the bleak realities of post-industrial life. Vocals are typically not sung but rather delivered as shouted pronouncements, reminiscent of a drill sergeant.

Subgenres[]

Subgenres and derivative forms of EBM include:

Old School EBM: This term refers to the revival of the classic EBM sound from the 1980s. It's not a new subgenre, but rather a conscious effort by contemporary artists to emulate the style and aesthetics of the original EBM pioneers. It's often seen as a reaction against the more polished or crossover styles that emerged later.
Dark EBM: This term is sometimes used to describe EBM that leans more heavily into the darker, more industrial-influenced aspects of the genre. It can overlap with aggrotech, but it doesn't always imply the same level of intensity or distortion. It sometimes refers to the more atmospheric side of EBM.
Aggrotech/Dark Electro: This genre takes the harsh, aggressive elements of EBM and amplifies them, often incorporating more distorted sounds, faster tempos, and darker, more intense lyrical themes. It's a direct descendant of EBM, but with a more extreme edge.
New Beat: As discussed in the history section, New Beat emerged from the Belgian club scene and combined elements of EBM with house and acid music. It's a derivative form in that it built upon the foundation laid by EBM, creating a distinct sound that was influential in the development of later electronic dance music genres.
Industrial Metal: This genre blends the industrial sounds and aesthetics of EBM with the instrumentation and aggression of heavy metal. While not strictly a subgenre of EBM, it's a closely related form that shares common roots and influences. Many industrial metal bands have incorporated EBM elements into their music.
Electro-Industrial: This genre blends elements of industrial music, including EBM's rhythmic and electronic foundations, with a focus on harsher textures, experimental sound design, and often more abstract or conceptual themes. It's a related genre that shares roots with EBM but has evolved in a different direction.
Futurepop: While often considered a separate genre, Futurepop evolved from EBM. It retains some of EBM's rhythmic structures and electronic instrumentation but incorporates more melodic and synthpop influences, resulting in a more polished and often more dancefloor-friendly sound. It's a derivative form in the sense that it branched out from EBM's core elements.
Industrial Dance: In North America, this is an umbrella term encompassing both Electronic Body Music (EBM) and Electro-industrial. This term emphasizes the danceable aspects of these genres and is often associated with the Rivethead subculture. Industrial Dance is characterized by electronic beats, symphonic keyboard lines, driving rhythms, angst-ridden or sampled vocals, and cyberpunk imagery. The term gained some prominence in the late-1980s, with coverage in publications like Spin magazine. It's important to note that this terminology is primarily North American and not as commonly used in Europe, where EBM and Electro-industrial are generally considered distinct genres.