Chapter 3
Industrial rock (sub)culture in Poland

3.1 About industrial culture in Poland
Industrial culture in Poland remains largely hidden. There are several meetings or parties and they rarely evolve into something bigger. No sponsors are interested in supporting and promoting such events. Industrial rock stars come to Poland very seldom. Even if they are going to play here, they often cancel their shows (KMFDM in the summer of 2006, Killing Joke in October 2006). The biggest industrial party is Wrocław Industrial Festival. It does not focus solely on concerts. Gallery art, movies and photography’s are a part of the whole event as well. Bands playing in Wrocław differ widely from each other, because the organizers emphasize the whole industrial culture, not only the music. At parties in Kraków like Maszyneria or Malfunction, industrial rock was the main genre, but these events are not cyclic. Music shops offer no professional press. Only the Internet or magazines from the USA, the UK and Germany provide information about industrial events.
There is one exception. The best and only one (sic!) webzine about industrial rock comes from Poland. “Fabryka (www.industrialrock.net)’ is a Katarzyna “NINa” Górnisiewicz’s site. Since 2001 it has supported bands, done interviews, informed about new releases, promoted bands etc.

3.2 Does industrial rock/metal exist in Poland?
In the past – yes, but in the present – no. Agressiva 69 was one of the few Polish bands that had the courage to use samplers in connection with guitars. They released 3 good albums: “Deus Ex Machina” (1992), “Hammered by the Gods” (1994) and “2-47” (1997). Yet, there was no support for this style of music in Poland at the time, and this situation has lasted up to this day. Industrial is too difficult for the Polish music market. Agressiva 69 had to change its preferences, becoming another commercial band with songs for everyone: “Agressiva 69” (2001), “Dirrrrt” (2004), “In” (2006). Other genres got the upper hand of industrial rock in Poland – for example pop music, hip-hop, house, R’n’B, black metal, death metal etc.

3.3 What does an industrial fan look like?
Industrial or industrial rock fans are known as “rivetheads”. They usually display an avantgarde and extravagant hairstyle: partially shaved (undercut), shaved bald, brightly colored, dreadlocked and sharply contrasted etc. Punk hairstyles are preferred, too. Most often they wear band T-shirts, sleeveless shirts, leather jackets, tanker boots, combat boots, battle dress uniforms and cargo pants. Primary colours are black, green, camo, grey and olive green.

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Chapter 4
Two periods of industrial rock

4.1 1989-1997
The best period for industrial rock. The first bands were formed, but the genre was also the richest in content and quality at that time. Musicians could bravely and without compromise offer new points of view to listeners. Artistic enthusiasm and expression had an effect. People noticed the new path for rock people – harsh voices, electronic drums, samples (movie quotes) and looped guitars interested everybody looking for new musical inspirations. Live shows played around the world by Nine Inch Nails, Ministry and Skrew propagated industrial rock. This genre of music remained in opposition to grunge, representing another subculture of that period. Music, being a bit “dehumanized” and not open for everyone, could not win too many fans. This however, did not undermine the importance of the genre, especially since industrial rock brought about another kind of emotions. Rock commercialized pure industrial noise making it more listener-friendly.

4.2 1998-2005
Very hard times for industrial rock. Many bands either were disbanded (Machines Of Loving Grace, Die Krupps), some changed their music style becoming normal rock groups (Stabbing Westward). Few albums were released, generally not as good as the older ones. The artists lost their individuality and charisma. The genre went underground and fans had to be satisfied with past releases. Moreover, large misunderstandings arose on the internet, television and in the press. The journalists gave the “industrial” label to bands that did not deserve it and played a different type of music (Rammstein, Marylin Manson). They only used electronic elements without pure industrial elements, characteristically mixed with rock music. Industrial rock loses its independent status.

4.3 Conclusions
Today, industrial rock begins to rise from the dead. We can talk about a resurrection, as more and more bands are reuniting and returning with new albums (Rorschach Test, 16Volt, Treponem Pal). United States is still the leader of the industrial rock scene, so there are two important areas that produce many of the most famous bands: the East Side (Washington, New York City, Chicago, New Jersey) with Acumen Nation, Chemlab, Stabbing Westward, Marazene) and Texas (Austin, Houston) with Pulse Faction, Skrew, Snowblack. American music still influences groups from Europe, represented by countries such of Switzerland (Mephistosystem, Fanoe) or France (Punish Yourself). We can be optimists. Industrial rock goes back to its roots in a way that can prove successful for everyone, both musicians and fans.

Internet sources:
1) http://en.wikipedia.org/
2) http://www.industrialrock.net
3) http://www.thewire.co.uk/web/unpublished/coil.html
4) http://www.fabryka.darknation.eu/php-files/faq.php?cat_id=2
5) http://krainanin.com/
6) http://prongs.org/minfiles/faq/faq.txt
7) http://www.lastfm.de/music/Die+Krupps/
8) http://www.agressiva69.com/agressiva.php?i=4&a=0