Power electronics (music)
Power electronics is a style of noise music that typically consists of static, screeching waves of feedback, analogue synthesizers making sub-bass pulses or high frequency squealing sounds; with (sometimes) screamed and distorted vocals with hateful and offensive lyrics. The genre is noted for its influence from industrial. Power electronics is generally atonal, and like most noise, there are no conventional melodies or rhythms.[1]
| Power electronics | |
|---|---|
| Stylistic origins | |
| Cultural origins | Early 1980s United Kingdom, mid-1980s Germany |
| Typical instruments | Electronic |
| Fusion genres | |
| Death industrial | |
Etymology and background
The name of the genre was coined by William Bennett as part of the sleevenotes to the 1982 Whitehouse album Psychopathia Sexualis. Tellus Audio Cassette Magazine produced a compilation compact cassette tape called Power Electronics in 1986 that was curated by Joseph Nechvatal.[2]
Power electronics is related to the early Industrial Records scene but later became more aligned with noise music.[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 ambient, and a less abrasive sound. Acts described as death industrial include Brighter Death Now, Anenzephalia, Atrax Morgue, Aelia Capitolina, Author & Punisher, Genocide Organ, Ramleh, Hieronymus Bosch, Stratvm Terror and Dead Man's Hill.