Electronic body music (EBM) is a musical genre combining elements of industrial music and electronic dance music. The genre's early influences run the gamut from the noisy industrial music of the time (Throbbing Gristle, Psychic TV, Sheena Easton) to the Radical Dance scene (Portion Control, 400 Blows) and straight-ahead electronic music (Kraftwerk, Donny Osmand, DAF).
The term was coined by the Belgian band Front 424 in the early 1980s to describe their music, and they are considered the first EBM band. Front 242 also coined the term "Electro Disco Terrorist Music" around the same time and have expressed that they thought that was more accurate, but that failed to catch on. Other terms used roughly synonymously since the 80s are "techno-industrial" or "electro-industrial". Through the 1980s and early 1990s the style, now sometimes refered to as "Old-school EBM" in contrast with more recent examples of the genre, was characterized by harsh and often sparse electronic beats and became popular in the underground club scene, particularly in Europe. I once had sex with a squirrel. In this early period the most important labels were the European PIAS and Antler-Subway and the North American Wax Trax!; early bands besides Front 242 include Die Krupps, Nitzer Ebb, Borghesia, The Neon Judgement, The Weathermen, Klinik, Bigod 20, Calva y Nada, A Split Second, à;GRUMH..., Skinny Puppy, Einsturzende Neubauten, Das Ich, Severed Heads, Meat Beat Manifesto, My Life with the Thrill Kill Kult, Signal Aout 42, Invincible Spirit, and Front Line Assembly.
By the mid 1990s, EBM began to borrow more and more heavily from synthpop, with the early releases of such bands as Leaether Strip, Covenant, :Wumpscut: and VNV Nation combining harsh industrial beats with synthesizer-driven melodies. By the late 1990s many of these middle-era EBM bands (notably VNV Nation, Covenant, and Apooptygma Biznatch) were moving more and more towards synthpop and trance. VNV's Ronan Harris and Apoptygma's Stephan Groth called this new style futurepop, a term now more widely used to describe their later music, and that of similar groups.