| Power electronics | |
|---|---|
 Englishnoise bandWhitehouse are credited with pioneering power electronics. | |
| Other names | Heavy electronics |
| Stylistic origins | |
| Cultural origins | Late 1970s to early 1980s,United Kingdom |
| Typical instruments | |
| Fusion genres | |
| Death industrial | |
Power electronics (also known asheavy electronics) is a subgenre ofnoise andindustrial music, characterized by static, screeching waves of feedback, analoguesynthesizers, sub-bass pulses and high frequency squealing sounds.
Power electronics is generallyatonal and features a lack of conventional melody or rhythm. To match its sonic excess, it often includes thematic and visual content that might be considered extreme, whether inlyrics, artwork, or live performance. The genre sometimes involves screamed, distorted vocals, alongside the use of analogue synthesizers, and static screeches of feedback. It has been known to invite visceral reactions from both listeners and critics.[1] Power electronics is related to the earlyIndustrial Records scene, but later releases had more in common withnoise music.[2]
The name of the genre was coined byWilliam Bennett ofWhitehouse as part of the sleeve notes to their 1982 albumPsychopathia Sexualis.Tellus Audio Cassette Magazine produced a compilationcompact cassette tape calledPower Electronics in 1986 that was curated byJoseph Nechvatal.[3][4][5][6]
Death industrial (also known asdark noise) is a subgenre of power electronics characterized 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 and less abrasive sound reminiscent ofdark ambient. Notable acts described as death industrial includeBrighter Death Now,[7]Atrax Morgue[8] andGenocide Organ.[9]
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