Abstract
This article discusses the band Battery 9 and its role as a pioneer of industrial music within the Afrikaans rock scene. The article explores the band’s origins within the contexts of both the Afrikaans rock music scene and the global industrial music scene. It demonstrates stylistic connections of Battery 9 to these scenes, particularly through the themes addressed in their lyrics.
Battery 9, an industrial rock music project founded in Johannesburg in 1994 by Paul Riekert, emerged during a period when Afrikaans rock had largely receded from the music landscape following the Voëlvry movement of 1989. While Afrikaans rock was later revived by artists like Karen Zoid and Fokofpolisiekar, Battery 9 remained a consistent voice, contributing numerous Afrikaans songs. The band is recognised as a pioneer of industrial rock music in South Africa. Despite their significance, Battery 9’s position in the history of Afrikaans music is often undervalued, receiving limited attention compared with studies on artists like Fokofpolisiekar and the Voëlvry movement.
Typically classified as industrial music, Battery 9’s genre is sometimes seen as a subgenre of rock or metal. Industrial music, though hard to define, stands out due to its use of synthesisers, anti-music (silence or noise) and extra-musical elements like film, processed sounds and machinery. This genre exhibits considerable diversity across its various branches. Originating from a spirit of rebellion and alienation post-World War II, particularly after the 1968 student uprisings in Europe, industrial music often delves into dark and transgressive themes. These themes include dystopia, war, dehumanisation, alienation and social control, challenging norms and pushing the boundaries of acceptable content.
The genre’s roots can be traced back to 1976 London, with the establishment of Industrial Records by Genesis P. Orridge of Throbbing Gristle. Initially, “industrial music” described experimental, electronic music productions by Industrial Records, which featured noise, custom instruments, and performance art. Adopted across Europe, notably in Germany and Belgium, industrial music saw the rise of influential groups like Kraftwerk, Einstürzende Neubauten and Front 242. The 1980s marked the emergence of Electronic Body Music (EBM), spearheaded by Front 242, along with further offshoots such as futurepop and electro-industrial music. Industrial rock/metal fusions were realised through bands like Rammstein, Nine Inch Nails and Marilyn Manson.
During the 1990s the global rock scene saw a shift towards languages other than English, particularly in extreme metal, to challenge Anglo-American cultural dominance. Industrial groups had already been exploring languages beyond English. While English had dominated popular culture in countries like Germany, Belgium and the Netherlands since the 1960s, bands such as Einstürzende Neubauten defied norms by singing in German, reflecting industrial music’s rebellious spirit.
Tracing the origin of Afrikaans rock and industrial music, the article identifies the Musiek-en-liriek movement of the late 1970s as foundational, with Anton Goosen as a key figure. The Voëlvry movement of 1989, led by Johannes Kerkorrel, Bernoldus Niemand and Koos Kombuis, further redefined Afrikaans music by incorporating rock and alternative influences to protest against the government and promote social change. Alongside Voëlvry, Piet Botha contributed through various rock groups, and Valiant Swart emerged as another significant Afrikaans rock musician in the mid-1990s. While the 1990s saw the formation of numerous rock groups in South Africa, Live Jimi Presley stood out as the first industrial group in the country.
Against the backdrop of a local music scene dominated by English music and a lack of industrial presence (with the exception of Live Jimi Presley), Battery 9 was formed in 1994 by Paul Riekert. Their debut album, Protskrog (1995), marked the first South African industrial album. Battery 9 has released eight albums and two EPs:
- Protskrog (1995)
- Strop (1996)
- Gris (1997)
- Wrok (1998)
- Sondebok (2002)
- Straks (2005)
- Galbraak (2008)
- Grimmig (2016)
- Voorbedag (2019) (EP)
- Afstand (2020) (EP).
Battery 9 initiated a wave of South African industrial music projects, often involving members from other groups. Additionally, groups such as NuL expanded the South African industrial music scene.
The lyrics of Battery 9 frequently engage with themes common in industrial music, including fascism, rejection of authority, dystopia, technology and violence. Unlike some industrial bands, Battery 9 avoids fascist symbols, thus avoiding related controversies. Their lyrics often subtly reject authority, critiquing blind obedience. Dystopian themes appear in their portrayal of the city, particularly Johannesburg, as a dangerous space marred by crime and devoid of community or moral values. The band also touches on technology, reflecting the blurring lines between humans and machines. Violence is a recurring motif, depicting acts of murder and cruelty. These themes resonate with the social and political changes in South Africa during the 1990s, mirroring the era’s spirit of renewal and frustration with violence.
Ultimately, Battery 9’s contribution to the Afrikaans rock scene is significant, despite being frequently undervalued in music history. Their fusion of synthesisers, anti-music and extra-musical elements has produced a unique South African brand of industrial music. With lyrics that mirror the genre’s dark and transgressive nature, Battery 9’s work offers a distinctive expression of industrial music’s values and a unique contribution to the South African music scene.
Keywords: Afrikaans music; Afrikaans rock; alternative music; Battery 9; industrial music; Paul Riekert; rock; South African music
Lees die volledige artikel in Afrikaans
Battery 9 as pioniers van industriële musiek binne die Afrikaanse rockmusiektoneel