r/IndustrialMusicians May 24 '26

Welcome to r/IndustrialMusicians - Read First

14 Upvotes

What is this place?

This sub is for all things surrounding the creation side of industrial music and related genres/sub-genres. Our goal is to be a cross-section of larger subs like r/industrialmusic, r/synthesizers, r/modular, and r/audioengineering with a focus on dark, electronic-based music production.

What should I post?

Post your music - self-promotion is encouraged with some caveats (below). Post about anything that is inspiring your music, techniques you're using to get a specific sound, questions about how to achieve certain sounds. Post your art, videos, other music that's inspiring you or that you think may inspire others.

We're not sticklers for genre here either. If an artist in a completely different genre is doing something production-wise that's blowing your mind, and you want to talk about it, then go for it. At this point, the techniques and sounds pioneered by industrial artists in the 90s and 00s have bled into just about every genre, and it's all art worth discussing.

Rules

  1. Be respectful and keep discussion civil.
    • We're here to learn from each other and grow as artists, and that doesn't happen through heated argument or insults. Keep feedback constructive, and likewise, practice accepting constructive feedback.
  2. No shaming of skills or tools.
    • Everyone has to start somewhere, and everyone has a different budget for this hobby. Some people work in the box, some don't, and there aren't many explicit right and wrong scenarios.
  3. Self promotion as long as you tell us your process.
    • If you post a song, an album, artwork, etc. tell us about it. Give us details about the process, how you felt creating it, what your influences and inspirations were. Let everyone know if you're looking for feedback or not. The more you can say about the work, the better.

r/IndustrialMusicians May 16 '26

Allegations against Jim Marcus of Die Warzau/Go Fight

23 Upvotes

***This post was originally made in the r/industrialmusic subreddit where it had to be removed due to legal threats from Jim Marcus and since many people have requested the original, it is now being reposted here with permission from the awesome mods in this subreddit to so huge thanks to them for allowing us a space to put this for people still looking to get informed about the allegations.***

(TW: Assault, Sexual abuse, child abuse, trafficking)

Jim Marcus is under active police investigation, and yet the process has stalled because of the protection and silence the industrial community still affords him. Since the 90s, accusations against Jim have ranged from physical abuse and trafficking to rape and sex with underage minors, and time and time again his victims have learned that this community will shout them down in favor of protecting him.

This is especially important right now because, due to the public nature of Jim’s actions, it would make a big difference to have witnesses step forward about what they have seen, but that can only happen if people are assured they can do so without backlash or being blacklisted from this scene.

The most recent of these accusations came out in September of 2024, when Cold Waves Festival (which he’s historically been very involved with), along with many local promoters and artists were contacted about Jim’s behavior towards one of his partners, here referred to as “Jane.” With Jane’s permission, I have included the email in its entirety below, but it is important to contextualize a few key factors. Prior to meeting Jim, Jane had zero experience with the BDSM lifestyle. Jim would give her Klonopin, which she had neither requested nor taken before, to help her stay calm during the activities he planned for her. More importantly, Jane has a cognitive/developmental disability and had to attend special education classes throughout her childhood, which meant she was especially vulnerable to Jim’s predatory advances at a time when she was already struggling emotionally.

The original 2024 email is reproduced below as it was sent, with only minimal edits for privacy/formatting:

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A call for accountability from Jim Marcus   This statement pertains to abuse perpetrated by Jim Marcus from 2017-2021 against a victim who shall hereby be referred to as Jane for her safety. The purpose of this statement is to forge a path towards accountability, restitution, and legal representation for Jane. If you're receiving this email, please consider publishing or sharing it to spread awareness.

Over the last three decades Jim Marcus has cultivated an image of someone who champions sexual freedom and women’s empowerment, often writing long essays pontificating on his views on current events and advising men on how to be better allies. These posts are often shared hundreds of times with views ranging into the thousands which has positioned him as someone who commands a lot of authority and respect within his local music community. An influence he has repeatedly used to exploit his victims, then socially isolating them, and screaming at them when they try to speak out leaving them feeling helpless against him and his vast network of enablers.

Far from being the first accusation, Jim has a pattern of preying on vulnerable women by using their trauma as a means to groom them. This tactic has been used to create a false sense of bonding with his victims who he then manipulates into feeling like his sexual commands are empowering.

Jane’s first interaction with Jim Marcus happened online in early 2017 while she was having a very public mental health crisis. He took advantage of this fact and sent her daily messages disguised as support, even after she made it clear she wasn’t interested but since she had no other support she eventually relented and agreed to meet with him. Upon meeting, Jane told Jim that she was interested in BDSM, something she had never engaged in before. Jim suggested guiding her through her first BDSM relationship. Although Jane made it clear she did not want to be in a relationship with him, he went so far as to get on his knees and beg her until she agreed. Immediately Jim asked her to sign a “slave contract” and said it was the “right way” to do things. Shortly after, Jane was told a “surprise” would happen and one night Jim invited a man Jane did not know to come by and Jane was instructed to have sex with him as part of her “slave duties.” This was the first of many such incidents which escalated with time.

After several months of grooming and manipulation he tore down all of her boundaries one by one by comparing her to his previous partner and complaining that she wasn’t submissive enough and that his previous partner had been “a better slave” who could “take more pain, and more men.” It should be noted that Jim’s previous partner had since spoken out about being trafficked and abused by Jim, yet he still fetishized the abuse and used it to pressure Jane. These tactics were effective in eliminating any boundaries Jane had left as she simply relented and followed Jim’s orders. His sexual desires gradually escalated into “parties” of various kinds where Jane was expected to be submissive to anyone in attendance.

Eventually, Jim began fetishizing the idea of Jane doing escort sex work, and encouraged her to do outcalls. Jim would brag very publicly on Fetlife how he was “wh*ring her out” and sexualized these activities but he never put any safety precautions in place. There was no security check, Jim never asked or cared where she was going or who these strangers were. There was no concern about the very real dangers Jane was being put through.

Tragically, this recklessness eventually led to Jane being brutally attacked in August of 2018. The attacker beat, and nearly strangled Jane to death but she narrowly managed to escape with her life. Shortly after escaping she went to the police, evidence was collected and her attacker was arrested (eventually being sentenced to over 80 years in jail for this attack). With no support other than Jim, the aftermath of this attack left Jane in a complete state of mental disarray. Jim’s outspoken knowledge of trauma, led Jane to think she would be safe with him. She returned to outcall escorting only two weeks later. Jim offered no objections, or safety concerns.

As the weeks went on, Jane showed more and more signs of a serious psychological crisis once even going so far as shaving her head. Something completely out of character for her. Despite the emotional and psychological turmoil that followed this horrific attack, Jane was expected to continue her sexual duties and denied the compassion and empathy for victims of trauma that Jim so proudly champions in public. There was no encouragement for her to ever seek therapy, or any kind of mental health treatment. Instead, Jim gave her CBD supplements for anxiety that she later found out he had originally purchased for his dog. The trauma and grief from this experience was so overwhelming, that eventually Jane was hospitalized after an attempt to take her own life. She later found out that in a sick instance of irony, Jim’s ex-partner had been also been hospitalized for a suicide attempt that same month. A horrible, yet symbolic incident which really shows the lasting trauma that Jim leaves his victims with.

Within weeks of this attack Jim pressured Jane to do “parties” again and became verbally abusive when she said no and expressed a desire for time to heal from the attack she just survived. He threatened to end the relationship, and banged on furniture while shouting “I never get to have any fun!” The aftermath of this attack left Jane’s life in such disarray that she was not able to work, or manage her life and since she had no other support she had no choice but to give in to Jim’s commands. Jim being her sole supporter after surviving this ordeal also furthered the false sense of bonding she felt, which only made her feel more pressured to comply. From this point forward, she was expected to show up at parties and let attendants engage in sexual acts with her indiscriminately. Any objections to Jim’s commands were met with screaming fits and emotionally abusive outbursts. 

These “parties” were Jane’s reality for four years. These events often went on for five to nine hours while Jane was tied up and blindfolded and had no ability to consent to who was engaging in sexual acts with her. Jane was never allowed to choose her sexual partners. If she requested anyone Jim would become angry and insisted it be people he chose. People Jane was not attracted to. Jim would often leave the room for long periods of time while this was happening and on multiple occasions Jane had a mental breakdown which was witnessed by everyone in attendance. Instead of aftercare, Jim screamed at Jane about embarrassing him. In one instance, Jane’s reaction was a result of Jim botching a piercing he was performing on her. He was so angry that he left the room and Jane had to run to her car bleeding profusely and had to drive herself home to attend to her wound. He never offered any apologies and instead Jane was expected to “do better” at the next party. Over the course of four years she spent over $6,000 on babysitters in order to attend these events, essentially causing her to finance her own abuse.

Near the end of the relationship, Jane began to notice Jim’s pattern of preying on emotionally vulnerable people and soon discovered (via his computer) that he spent much of his day communicating with young women (some of questionable age), advising them on how to navigate their sexuality and even telling them that he loved them. It was also around this time that she discovered a secret he kept from her until then — he had previously been in a relationship with his own daughter’s best friend, who was less than half his age. On another disturbing occasion, Jim asked Jane to meet him at a friend’s apartment knowing she had her son with her. She was not told this was a sex party until she was at the door. Jane was furious and left immediately with her child, but as usual Jim dismissed these concerns as an overreaction.

The final straw came when Jane noticed that Jim had been hosting (without her knowledge) his friend’s 14 year old son in his garage, knowing full well that his mother was in distress looking for him, thinking he’d run away. Jane made it clear she was not okay with him staying there, which turned into intense arguments, but Jim continued spending hours with him and advising him in ways that were completely against his mother’s wishes. Jane, being a mother herself began to realize what an unsafe environment this had been for her and her son and finally moved out and ended the relationship. Out of respect for the privacy of her son, Jane has chosen not to detail the painful and lasting trauma he is currently processing.

Three years later, Jane now looks back at this time in her life and deeply regrets not having spent those precious childhood years with her son but is able to recognize how severely she was manipulated and that her participating in this extreme BDSM relationship was a form of self harm that Jim enabled and provided. As she looks back she’s able to see that a clear turning point in her life from the day she met Jim. She now suffers from PTSD and has completely isolated herself to the point that she has almost no friends and no support out of fear of trusting anyone. A stark difference from the social and adventurous person she once was.

In order for this community to fully grasp the role it played in enabling Jim all these years, it is necessary to recognize the harm done by giving one individual so much unchecked social authority. Jim has been a major proponent of online shaming campaigns against individuals he has deemed problematic or abusive in some way. He not only exploited these tactics to gain public trust, he also used them as a way to pursue his own interests by convincing people it was their responsibility to publicly shame others, even going so far as to contact Jane’s mother a month after their break-up to (falsely) call her new partner abusive. He has engineered many such campaigns, even pushing Jane to make a public post about her son’s father - something she now deeply regrets. He also used this tactic in reverse in asking Jane to attack his ex-partner, and publicly defend him when she tried to speak publicly about her own abuse. Thanks to the amount of public trust placed in his words, she was shouted down and quickly forgotten. 

Jane has been terrified to speak out because of Jim’s manipulative tactics and she fears what could happen to her. Particularly since Jim was a very close friend of Genesis Silva who was found guilty of beheading his partner in June of 2023.

To those who were present at these parties, or witnessed any of the above. Please consider doing what’s right and speaking out in support of Jane during such a difficult time.

For Jim, the long road to accountability begins with him finally giving Jane the respect, and compassion for women that he publicly celebrates, yet has so harshly excluded her from. It requires him taking a sincere look at the very real and lasting damage he inflicted on Jane and her sense of self worth during such a vulnerable time in her life. Jane has finally reached a point where she is ready to take back her autonomy and her life. Now that it’s his turn to be put under the level of public scrutiny he put so many others through, will he stay true to his professed values? Or will he resort to intimidation, gaslighting, and victim-blaming? In other words — the very tactics that his entire persona is built upon condemning. One thing is certain; the world is about to see the real Jim Marcus.

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What happened after the email above went out says a lot about why this post has to exist at all.

Some people did respond. Some people privately agreed. Some people said Jim had harmed them too, or that they had information, screenshots, or stories they were willing to share. But again and again, those same people backed away once it became clear that publicly speaking about Jim could put them at odds with the people who still protect him.

The silence around Jim has been maintained for years by a culture of fear, shame, and social retaliation. People have learned that speaking about him can cost them their scene, their reputation, their band, their friends, and their sense of belonging. It is why Jim has been allowed to operate this way for so long.

Cold Waves did not respond. No Chicago venue responded. No major local promoter or DJ said anything publicly. A woman had already spoken publicly before this and described doing so as “social suicide.” Others reached out privately after the email and said the exact same thing in different words. They were disturbed. They believed Jane. They wanted to help. But they were afraid.

Recently, Jane has done what this scene has repeatedly failed to do. She went to the police. Jim is now under active investigation. Detectives have followed up with her, but they have also made it clear that more evidence and witness cooperation would make a difference. That is a huge part of why this is public now. Many people connected to the scene were present at Jim’s “parties” and their testimonies would be extremely helpful here, but it needs to be clear that they will have this community’s support in speaking up about what they saw Jane being put through.

If you have screenshots, messages, emails, photos, names, dates, memories of events, prior complaints, or firsthand experience involving Jim Marcus, now is the time to come forward. If you stayed quiet because you were afraid of what would happen to you socially, professionally, or personally, that fear is part of the story too. It is also exactly what has allowed him to keep getting away with this.

This scene does not get to keep pretending that everyone is silent because there is nothing to say. People have been silent because they know exactly what happens here when they speak.

If nothing else, please leave a comment expressing empathy and support for Jane, who will soon be reading this post. One of the most traumatic aspects of this entire ordeal for her has been years of being dismissed while watching other women receive support from the very same scene that stayed silent about what was happening to her. That silence only deepened the belief, instilled in her through Jim’s abuse, that she was somehow less worthy of empathy, protection, and care. We hope you’ll join those of us involved in this process in making it clear that she is no less deserving than anyone else, and that after everything she has been through, she deserves to be met with the same support and compassion this scene so readily extends to others.

If you have information about Jim Marcus’ crimes, please contact [[email protected]](mailto:[email protected]) or contact Chicago PD directly.

If this scene wants to become something better than what protected Jim, that begins with finally telling the truth.

EDIT: 3/24/26

The purpose of making this post public (after waiting over 2 years for local promoters to help) was to get witnesses to come forward who had evidence, and are willing to testify on Jane’s behalf. We are very proud to say that those goals have now been achieved as a result of this post.

We’d like to thank those who have come forward, the r/industrialmusic mods for allowing us this space, and this community for all of their overwhelming support.

With that said, we have chosen to remove the sections about Sarah as they have served only to distract from the situation.

It needs to be clear that we are not backtracking on our concerns, stand by them and considering it has now been several days and despite sending other people here to defend her (including Jim Marcus himself in a now deleted comment) she STILL has not made a public post about Jim and that on its own speaks volumes.

As has been stated before, Jim is in poor health and most of his socializing is done online not in person which is why we felt a public post from her was so important yet the best she was willing to offer, was to address it through comments or private channels by saying he’s banned from her events. This distinction is important because she’s made it clear that the usual process for her blacklist is to have problematic people banned from The Metro (where he is heavily involved in Cold Waves Festival) as well and that has yet to happen. Considering that she has had no problem making very public posts about vulnerable POC in the past, including one VERY autistic disabled POC who she humiliated on social media for being too forward in her groups (banning him was the right thing to do, publicly humiliating him was arguably really insensitive considering his very obvious disability), one can’t help but notice that she still refuses to hold Jim to the same standard even after seeing all the damage her silence has done.

Once again thank you to everyone for the support. We will be submitting new information to Chicago PD and are confident Jim will face justice. Thank you to the victims who were so brave in speaking out, and the most heartfelt thank you to Jane for her incredible strength throughout this process and never giving up these last two years despite having almost no social support.

Stay safe out there.


r/IndustrialMusicians 1d ago

Instagramの杉山サンダーU1

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0 Upvotes

No nostalgia trip here. Just raw 16-bit code from 1992 being treated as pure sound material in 2026.
I stripped this sequence data from an old 1992 floppy track by Tokyo underground band MOUDOKU (猛毒), forced it onto an SD card image, and booted actual SHARP X68000 hardware via BlueSCSI.
Signal chain for the purists:
X68000 MIDI Out ➔ Roland MT-32 (LA Synthesis) ➔ Oyaide d+ lines ➔ Rupert Neve Designs RNDI-S(Dual-Transformer) ➔ RME Babyface Pro FS (Ultra-precise AD conversion).
The central BOSS MA-12 amp is completely dead and unplugged—just an empty monument. We don't play 90s audio with 90s budget limitations.
Check out the full 40-second execution loop, digital glitch breakdown, and the 1992 live sync footage on my Instagram reel below.


r/IndustrialMusicians 1d ago

Feedback Thread First draft. Beginner trying to make atmospheric breakcore/jungle/DnB, looking for any feedback

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0 Upvotes

This is my first ever decent track draft, so I’m still learning and I honestly don’t really know what I’m doing yet.

I know the intro might be a bit cheesy or cliché, but I actually like that kind of atmosphere, so I wanted to experiment with it.

The main problem is that I don’t really know where to take the track from here. I’m not sure how to continue it, expand the idea, improve the arrangement, or make it feel like a complete song instead of just a short draft.

I also don’t really know how to classify it. I was aiming for something inspired by artists like Sewerslvt and similar atmospheric breakbeat/DnB/jungle styles, but I’m a complete beginner and I don’t know if this would technically be considered breakcore, drum and bass, jungle, breakbeat or something else.

I’d appreciate any kind of help or feedback: composition, drums, bass, sound design, mixing, structure, or just general impressions.

Thanks to anyone who takes the time to listen.


r/IndustrialMusicians 2d ago

Discussion Vocal Ducking/Sidechain

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6 Upvotes

Recently i realised that Suicide Commando use vocal ducking (sidechain to down volume every time kick hits) in one of theirs songs. Is this a thing?

Anyone frequently use this technique?


r/IndustrialMusicians 3d ago

Demo favorite song I've written

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4 Upvotes

just a demo


r/IndustrialMusicians 3d ago

Getting that DX7 sound

9 Upvotes

Hi all, I’ve just joined this group and I am just finally starting to make industrial music after being a fan for many years….
I have a Korg Volca FM1 - I’ve read that it is an almost exact copy of the DX7 which apparently many bands used in the late 80s and early 90s. There are specific sound ai want to make and am wondering if anyone might know how or might know of any instructions or videos that tell you how to make them…?
Obviously it’s hard to describe the sounds but those keyboard sounds that have a propelling rythm to them… NIN use it a lot. It’s brassy and sounds like it’s rolling along…. How do they do it?


r/IndustrialMusicians 4d ago

HANA's SAMPLE MEGAPACK 7/18/2026

27 Upvotes

This was a sample pack containing 3 of my other sample packs, and the 4th one I've been working on together. It's mainly made for a lot of digital hardcore, hardcore techno, cybergrind, industrial, noise etc.

36 Ambience, Pads, Arps, etc

100 Basses, Hardcore Kicks (Oneshots and Loops), etc
73 Hardcore Techno / Digital Hardcore, Industrial, Breakbeat, Cybergrind, Etc Drum Loops

21 Kicks

29 Percussion, Hi-Hat, Harsh Percussive Loops

63 - Acoustic/Metallic/Ping/etc Snares

59 - FX Loops, Risers, Impacts, Glitches, Etc

126 - Power Electronics Sessions, Noise Loops, Percussive Loops, Guitar, Feedback, Rumble Noises

81 - Random shit from my computer and samples I been storing on my computer

11 - Stems from my bitcore project

47 - Rave leads, synths, arps, acid synths, stabs, etc

https://drive.google.com/drive/folders/1f63XXDoZ3Y3RxBIBRxPRW0yFqhhBtxRc?usp=sharing


r/IndustrialMusicians 6d ago

Samples Some Questions for Those Industrial Musicians who Use Uncleared Samples

17 Upvotes

A friend and I have been working on a lot of plunderphonic music lately. Heavy beats, some drones.. harsh-bits... EBM influence, some breaks... and of course, various samples from commercials, pop-culture, politics, current events.. and some more obscure shit.

We don't have much money and probably can't afford to acquire licenses for any recognizable samples unless this endeavor starts paying the bills. In terms of requesting permission, especially with any samples that are more political in nature, I fear that even asking the authors would land me on the radar of some conservative politicians and their overpriced attorneys.

Additionally, if we were to 'follow-the-rules', we wouldn't even be able to publish a song to see how it lands with an audience without acquiring intellectual property permissions first.. which would put a significant burden on the act of even creating such sample-based music.

So, I feel like we're somewhere between a rock and a hard place, the frying pan and the fire.. the chicken and the egg.

We're not sure what to do. I assume that there's a reason the label 'Illegal Art' no longer exists. No one stops doing something that they love doing willingly.

To those moving forward with reckless abandon, using unlicensed samples, and obtaining a following, selling merch/CDs/vinyl/MP3s, I salute you!! But, what are your plans in the event some attorney comes knocking?!

In the event of litigation, can we file for bankruptcy?!

Should we create a Limited Liability Company?!

Is there any option for plausible deniability?!

To those who obey every rule and only obtain appropriate permissions first, can you respond regarding the process? Do you have music/IP attorneys on retainer? How long does the process for obtaining clearance take on average?! I understand costs can vary.. can you provide a min/max of some costs you or a record label incurred for getting samples cleared?! Have you had to scrap songs because the IP owner wouldn't budge on a key sample in a song?!

For many of the more obscure samples.. or less recognisable samples.. I'm not quite as concerned. It's those where I am considering using a very recognisable element on purpose where the concern lies. Without that recognisable element, the punch-line is gone.. the point of the track is non-existent. And arguing satire would probably not work.

For those who are underground, but have a decent following, a steady online presence, and use a significant amount of plunderphonics, does the 'whack-a-mole' approach work?!

I understand that the likelihood of some underground band landing on the radar of copyright attorneys is tiny... but with our luck... it's definitely something we're thinking about... so much so, that I'm asking these questions.

I will take my zero now and be thankful for any insights that can be provided on this matter.


r/IndustrialMusicians 7d ago

There’s no major industrial production subreddits, so I’m assuming this sub is the best place to find industrial producers. I have questions regarding Gary numans modern mixes.

15 Upvotes

I’ve been in a Gary numan rabbit hole over the last couple days. Seeing his music journey/ability improve over the decades is pretty cool. I’m pretty amazed how professional his modern albums sound, especially considering where he started from.

I’ll be honest, I’ve never really been too into industrial, but his modern albums are mixed and produced so well, I have a new found appreciation for industrial production.

I have been producing for over a decade and wish I would have spent more money on synths than I did compressors and other BS.

I’m curious how his production value is so high 2013 and beyond. With the orchestral and good synth choice and balance is very well done. Sounds like he uses kontakt instruments for a lot of it, mixed with some high quality synths (I.e. u-he, omnisphere), which was confirmed by AI from interviews and behind the scenes documentaries.

I’m more so curious how his low end/bass is mixed so well. From AI it said on “splinter” album they use real live bass and some synth bass.

To me it almost sounds like they low pass filter a distorted live bass at around 50-60hz (which is incredibly low). I would never imagine to low pass a bass that low, but it almost feels necessary with how much bass is in the mid range synths.

I’m pretty sure in “betrayed” this is real live bass, which is fitting to go with the real live orchestral sounds:
https://youtu.be/Vh8ITj24rKk?is=DXmeQCeoMw9pRHNW

Here’s another example on “I am screaming” of what sounds like live bass (low passed at maybe 70hz), easiest to hear in the chorus:
https://youtu.be/tvO_BpzlV8E?is=Ppn4m7CBwzGevkbD

This is probably the best example of obvious live bass (low pass maybe 65hz) with low end synths mixed together well (starts at about 2:00):
https://youtu.be/D-d0kENRWE8?is=q0Kd0r3bYL5ZLfCO

I have no clue how they blend the bass and the bass heavy rhythm synths so smoothly, that they almost sound like the bass is a part of the low/mid range synths, although you can tell they are separate with how the actual bass fades out and leaves the low/mid range synths playing out.

I have both Trackspacer & soothe, as well as quite a few other resonant suppressors, but is that all he (or they) is really doing? Which plugin do you think is the best suppressor to achieve this clean of bass in the over all mix? Trackspacer for broad suppressing? Or soothe for resonant suppressing? Or maybe even both?

Is there anyone here that has been producing industrial for a long time and can help me understand how his modern music is produced and mixed so well. Any good YouTube videos r you can point me towards so I don’t have to filter through them to find the best ones.

Bonus:
Here’s a pretty awesome cinematic industrial (second half is more industrial) track from savages I came across:
https://youtu.be/qzsvZpO1I_4?is=I-LlaQY9VdMkNWPm

————————————
UPDATE:

Came across this video which is pretty great:
https://youtu.be/tddYtxzBEO4?is=bjvZ5rOit3T3NvZh


r/IndustrialMusicians 9d ago

Poochy Live at the Little Gig on the Lofi-12XT, Tascam and Modular 👌🐶

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3 Upvotes

Getting more confident doing live synths/electronics and leaning into my heavy music background. Hit a pretty mangled cover of Der Mussolini by D.A.F. which I was happy with! I'm Lefthandpooch on socials and bandcamp, holla.


r/IndustrialMusicians 11d ago

Samples Massive free drum sample collection. Enjoy!

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47 Upvotes

r/IndustrialMusicians 11d ago

priohs - no. 73

0 Upvotes

https://priohs.bandcamp.com/track/no-37

this would probably fall under a sort of noise category. i sometimes publish and post these in one place or another in case. perhaps this will find some ears that, like mine, like to hear stuff like this every so often.

this is from my thirty-seventh live session with my soma labs organismic synthesizer, the lyra-8. that is the core instrument here, with a small setup around it plugged straight into a mixer. the live session was recorded january 11, 2026. the whole session lasted about one hour,. i finally got around to listening back to it, and this this segment is the one i selected to put out there today. some minor EQ and compression added in post, all other effects, sounds, etc, produced live during the session.

there are some moments when the session clips, unfortunately. i wasn't able to prevent it in the moment.


r/IndustrialMusicians 14d ago

Any tips/recommendations/common practices? Really looking to get into the weeds with industrial production.

7 Upvotes

Title. Been composing/producing in synth-heavy genres for ~3 years and have been making music for games for the last two. Really looking to get into EBM (mainly) and industrial production a little further and I figured you guys would know best. So far my main inspirations are Front Line Assembly (Echogenetic and Millenium eras - they've made too much music), Biomekkanik, and obviously Nine Inch Nails moreso from an actual songwriting pov. I mainly operate in FL though I understand ableton/pro tools/reaper/cubase/logic/etc. I'm just most comfortable with FL. Hoping to move to Ableton soon.

I'd really like to get into the weeds. Give me surface stuff and your nichest picks (really fw Spark! right now). Hoping to learn more about the history and culture and all that jazz instead of being a complextro/brostep/video game kid larping as an ebm/industrial producer. Really just trying to put myself out there to better connect with other local EBM/industrial/aggrotech/hardstyle artists so if there's any overlap with recommendations you guys have then hit me with them. Started watching Tonepusher (my GOAT) to try and learn more but I feel like I'm still missing a lot - if you guys know any other Youtubers or videos I could check that'd be great. I'm happy to collab or chat or any of that just shoot me a dm.

If you'd like to check my music, here's a link. They're all my game commissions so they're not reflective of what I really want to do, but my style is still sort of here (fuck spotify): https://open.spotify.com/artist/5HJpis9mBu7aJknaIC3r8C?si=VGYYLUM6S0yYeB-d4rSBcA

Thanks guys!


r/IndustrialMusicians 15d ago

Demo TONVERK HATEFILES #1

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4 Upvotes

r/IndustrialMusicians 16d ago

Old Dogs Learning New Tricks

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0 Upvotes

Back when I first started composing and sequencing, I did it at a time where I was hearing anything electronic wasn’t “real” music because we weren’t using “real” instruments.

Now with the advanced state of AI, I’m hearing it again. I didn’t believe it the first time, so I’m not going to believe it this second (or maybe this is the third or fourth time?). I’ve messed around in that space a little, but I’m conflicted about its use.

What’s everyone else’s views on this? Are you embracing this or rejecting it?

Thanks. Including a link to the last full album I released, which was over a decade ago. My AI experiments are singles and released on that same account.


r/IndustrialMusicians 19d ago

The Renouncement (hardware jam)

0 Upvotes

Going for an electro industrial goth dance club vibe with this one. Recorded on an MPC Live, a Volca FM helping out. Lyrics from Bram Stoker's Dracula. https://youtu.be/VryUniOao0c?is=v0Kf7PRiW_SPheZm


r/IndustrialMusicians 21d ago

Anybody use Elektron instruments?

2 Upvotes

I'd love to hear if other musicians have delved into the Elektron workflow with their music and what you use? I accidentally ordered a Digitone instead of a Digitakt originally so now I own both and really enjoy them and I would be interested to see other's feelings on the instruments.


r/IndustrialMusicians 21d ago

FOR MY PRODUCERS! Update on my FREE plugin COGG: I added cool new presets in v1.1!

10 Upvotes

I'm a high school student who is developing a free plugin FOR YOU INDUSTRIAL MUSIC LOVERS!!!

A few weeks ago you probably saw that I posted about COGG, a free plugin I built that metallizes and industrializes any sound. Specifically, harmonic distortion, metal plate convolution reverb, and pitch layering are there all in one chain.

I just shipped v1.1 with 8 factory presets so you can dial in different metallic textures instantly instead of tweaking all the knobs from scratch. Everything is there, from subtle texture (like the preset RUST), to full chaos (like presets SHRAPNEL and MELTDOWN).

Still free, no account needed, VST3 + AU for Mac, VST3 for Windows.

Download now for free: https://plasma-hype.itch.io/cogg

Trailer/demo of the update: https://www.youtube.com/watch?v=HfD2drnrMjQ

Thanks to everyone who tried v1.0 and gave feedback, this update came directly from figuring out what people actually wanted to do with it. I personally have used COGG in almost all of my FL projects ever since I released it. Please give it a shot and let me know what you think of the presets and plugin as a whole for a v1.2!


r/IndustrialMusicians 25d ago

NinjaHZA - k-tek-1 - Industrial Techno

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3 Upvotes

r/IndustrialMusicians 25d ago

Release Nh4x - Age of Hate

0 Upvotes

i started out making electronic music last year. This is only my second release in a year as after the first one I noticed I had to improve a lot. Now each new song is slowly becoming easier to create, mix and control.

My biggest issue is masking my vocals. I'm no fan of standard distorted vocals but cannot sing like the bands I love (everything Andy LaPlegua, Covenant, Faderhead etc).

So, in this song I use two pure Vocoder tracks for the obvious vocoder sounds. For the main vocals I use one track with two vocoders (Graillon 3, Orange Vocoder) . As carrier I copied my main drone synth track and muted it. This way the vocals keep a relationship with the instruments but I was still able to fine tune the modulator for the vocals a bit.

Anyway, I don't have any friends or family that like this type of music so I'm basically starving for feedback as the usual feedback I get is 'That sounds very aggressive... ' with a weird look

So thanks a lot if you have a listen!

https://distrokid.com/hyperfollow/nh4x/age-of-hate


r/IndustrialMusicians 26d ago

Massive Kick & Snare of Old School Industrial

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7 Upvotes

r/IndustrialMusicians Jun 21 '26

Guitar String Bow - Gene Koshinski

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5 Upvotes

r/IndustrialMusicians Jun 18 '26

News Independent artist sharing my music — support appreciated

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2 Upvotes

r/IndustrialMusicians Jun 17 '26

Demo Old Tribes

3 Upvotes

I've found a workflow I jive with on my MPC, so sticking with this Aggrotech/Powernoise project Ive been doing. Goal is to finish a track every few days, and pick the best to release my first album. As a hobby itll probably just be free, but until recently Ive just been experimenting without having a concrete goal or sound.

All songs created on hardware using an MPC Live and a couple friends.

https://youtu.be/e-Ky2FbCOas?is=4ufuhx94ZMim0Zxq