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Industrial Metal is a sub-genre of metal music that is known for combining industrial music and various other forms of electronic music with various forms of heavy metal. While it is known as being founded in the late 80's by artists like Slab!, Godflesh, and Ministry, the band Killing Joke are widely known as being the forerunners, starting as a post-punk act with industrial elements. The band eventually switched to the style they helped create during the 90's, which was the peak of industrial metal's popularity. Many critically acclaimed industrial metal albums were released during this time. Skinny Puppy should also be mentioned as a big influence on the genre.

While Industrial Metal bands have made use of a wide range of styles of electronic and heavy metal, there are a few styles that are more notable. Many of the early industrial metal bands blended thrash metal or sludge metal with their industrial sound. Ministry, KMFDM, Varga, and Die Krupps are some notable acts of the industrial thrash variety, while Godflesh and the early albums of Pitchshifter included sludge elements. Sometimes bands would combine both sludge and thrash elements, such as Treponem Pal. Some of the more mainstream industrial acts, like Nine Inch Nails and Marilyn Manson, added in an alternative rock element to the style. Some of the more notable specific sub-genres include:

Industrial Black Metal is a more recent form of industrial metal, the most notable act being Samael, who switched from pure black metal to an industrial-infused sound on their album "Passage". Industrial Black Metal combines raw black metal vocals with elements of both black metal and industrial thrash. Other notable acts include Aborym, The Axis of Perdition, and Dødheimsgard. However, many industrial black metal bands are more black metal than industrial, so many industrial black metal acts are placed under black metal.

Neue Deutsche Härte (New German Hardness) is a music scene in Germany, which is known for combining the crunching riffs of groove metal or thrash metal with heavy dance beats. The most notable band in this scene is Rammstien, who are known for creating some controversial music videos. Other acts in the scene include Oomph! and Megaherz.

Cyber Metal, taking more influence from EBM (Electronic Body Music) and Aggrotech, is usually used to describe industrial metal acts that are on the more extreme side. Cyber Metal bands typically have more use of atmospherics and harsh vocals. Notable acts include Fear Factory and Sybreed, though other industrial metal bands have included elements of cyber metal, such as Static-X.

Some bands, like Nailbomb and Strapping Young Lad, make use of a vast selection of influences along with industrial. The former is sometimes known as industrial death metal, which is less prominent than Cyber Metal which has death metal as only one of it's influences. Both bands are placed under industrial, as industrial extreme metal gives a good idea of the bands' overall sound.

Industrial metal has shown its influence throughout the genres of metal, so there are some bands that take influence from industrial metal while being mainly a separate genre. Bands like Prong, Voivod, Meathook Seed, and Ultraspank have taken influence from industrial, but have largely stayed closer to their respective genres. It has also shown its influence with bands more commonly associated with regular industrial music. Front Line Assembly has a few industrial metal albums spread throughout their largely electronic discography, and Aggrotech band Combichrist eventually switched to an industrial metal sound.

- Genre biography written by Unitron.

Sub-genre collaborators (shared with Trance Metal):

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DØDHEIMSGARD Supervillain Outcast Album Cover Supervillain Outcast
4.53 | 18 ratings
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STRAPPING YOUNG LAD Alien Album Cover Alien
4.39 | 35 ratings
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RAMMSTEIN Mutter Album Cover Mutter
4.21 | 56 ratings
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NINE INCH NAILS Broken Album Cover Broken
4.28 | 21 ratings
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STABBING WESTWARD Ungod Album Cover Ungod
4.44 | 6 ratings
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STABBING WESTWARD Darkest Days Album Cover Darkest Days
4.38 | 7 ratings
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RAMMSTEIN Reise, Reise Album Cover Reise, Reise
4.05 | 48 ratings
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KMFDM Nihil Album Cover Nihil
4.44 | 5 ratings
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KILLING JOKE Killing Joke Album Cover Killing Joke
4.35 | 6 ratings
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MINISTRY The Mind Is a Terrible Thing to Taste Album Cover The Mind Is a Terrible Thing to Taste
4.09 | 16 ratings
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RAMMSTEIN Sehnsucht Album Cover Sehnsucht
3.98 | 47 ratings
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STRAPPING YOUNG LAD The New Black Album Cover The New Black
4.02 | 18 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy MMA!

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industrial metal Music Reviews


Album · 2022 · Industrial Metal
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After 2019’s self-titled/untitled album, Rammstein were well and truly one of the biggest metal acts on the planet, joining the elite few that made it out of the arenas and into stadiums. With their stage show known for its huge spectacle, they were on top of the world.

Then COVID happened, and the world came to a standstill, and with nothing to do but write and rehearse (socially distanced, I’m sure), it meant that the German industrialists were quick to release a follow-up to their previous album, and that brings us to 2022’s ‘Zeit’.

With huge amounts of hype, its speculative, cryptic name and controversial music videos (so, all the usual Rammstein traits then), ‘Zeit’ is, admittedly, a pretty average affair. I mean, don’t get me wrong, this isn’t a bad album, but it’s quite a mixed bag, with a fair number of tracks sounding like the band are just on autopilot.

But the good songs? Oh boy… When they get it right, they sound incredibly focused and on point. With their classic blend of heavy, crushing guitars, bright keyboard melodies, humorous lyrics and vocalist Till Lindemann’s deep, baritone voice, the band show that they are indeed still the same Rammstein we all know and love.

While ‘Zeit’ isn’t likely to be anyone’s favourite Rammstein record, tracks like ‘Angst’, ‘Dicke Titten’, ‘Armee Der Tristen’, ‘OK’ and the melancholic closing track, ‘Adieu’ are all good enough reasons to own this album, and ultimately, fans of the band will enjoy the album regardless.


Album · 2001 · Industrial Metal
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"Digimortal" is the fourth full-length studio album by US, California based death/industrial/groove metal act Fear Factory. The album was released through Roadrunner Records in April 2001. The original version of the album contains 11 tracks while there´s a limited digipack version available with 4 bonus tracks. Fear Factory would be heading into some difficult years as founding member guitarist Dino Cazares would leave the band after this release. So "Digimortal" is the last album to feature what many would probably call the "classic" Fear Factory lineup.

The music on "Digimortal" continues further down the more groovy alternative metal road that was initiated on "Obsolete" (1998). The tracks are generally vers/chorus based 3 to 4 minute long songs with a strong emphasis on brick heavy groovy riffing and the occassional use of futuristic sounding synth effects. There are lots of precise technical playing on display and especially drummer Raymond Herrera puts on quite a show. The vocals vary from aggressive to raw to clean. Lead vocalist Burton C. Bell is not as such a great singer, but he understands how to economize his voice and his performance here is strong and personal. The songs are all quality compositions and if you enjoy your music hard hitting and groove based, "Digimortal" certainly delivers. The alternative metal touch gets an extra notch up on the song "Back the Fuck Up", which features rap vocals performed by B-Real from Cypress Hill.

The sound production is clear, powerful, detailed, and professional (again created by longtime collaborator Rhys Fulber). Triggered drums and lots of meaty heavy riff goove laden power. Upon conclusion "Digimortal" is a very succesful album in terms of consistency and powerful delivery, but evaluating the album I´ve come to the conclusion that the album lacks real highlights and a bit more experimentation would have been great too. Fear Factory purposedly chose to write shorter and more conscise songs though, so if anything it´s the band´s vision playing out. All songs are more or less good quality tracks, but there´s nothing on "Digimortal" that really stands out as anything beyond what you expected from Fear Factory at that point. It´s of course a matter of taste, but I miss some gritty death metal parts in the music too. So "Digimortal" is overall a good qualty album, but it doesn´t reach the heights of the first three albums by the band. A 3.5 star (70%) rating is deserved.


Album · 1998 · Industrial Metal
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I was a fan of Fear factory’s Death Metal influenced, aggressive brand of Industrial Metal prior to this album. But here is where they really decided the guitars were never going to do anything interesting again. They become relegated to a third rhythm instrument, and without much in the way of keys or atmospherics, the album is left very one note. Overly reliant on chugs and near-Djenting drumming and guitar syncopation. Both harsh vocals and clean vocals are sub par, the former moving even further from Death Growls to more typical Groove Metal tough-guy grunts, and the cleans are just not catchy. The Electronic/Industrial sounds that do make appearances are usually annoying, not contributing in a positive way to the music.

These crippling weaknesses are thankfully averted for the final two tracks. Resurrection manages to be catchy with some Alt Metal influence, and the guitars actually create some melodic soundscapes rather than repetitive chugging. The final track “Timelessness” strays even further, opting for an Ambient/Chamber sound, a beautiful, poignant piece that easily manages to be my favorite on the album.

Thanks to these last two tracks, the album has value. But the majority of it falls into that monotonous stereotype of repetitive riff-less chugging that occurs when one mixes Industrial and Groove Metal.


Album · 2003 · Industrial Metal
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"SYL" is the 3rd full-length studio album by Canadian extreme metal act Strapping Young Lad. The album was released through Century Media Records in February 2003. It´s the successor to "City" from 1997 and features the same four-piece lineup who recorded the predecessor, although Strapping Young Lad had a longer hiatus between 1999 and 2002. In the intermediate years the other members of the band worked on various other musical projects, while lead vocalist/guitarist Devin Townsend recorded and released a couple of solo albums and worked as a producer for other artists too (including artists like Soilwork and Stuck Mojo). Townsend also struggled with his bipolar disorder and even admitted himself to a psychiatric hospital in early 1998. After being released and taking medication for the disorder, he was able to work again, but continued his substance abuse, which combined with his disorder made his behaviour erratic. The material for "SYL" were written using a more collaborative approach than the preceding releases, which were more or less solely written by Townsend.

Stylistically the material on the album is unmistakably the sound of Strapping Young Lad. A few more death metal influences and not as many industrial metal influences, but other than that this is Strapping Young Lad as we know and love them. It´s often pretty extreme music with thrash, groove, and death metal riffs, powerful fast-paced drumming, and Townsend screaming his lungs out with great passion and conviction. There is so much more to the music on this album than that though. Townsend as always have created a layered and larger than life sound production and has added keyboards/synths, choirs, and electronic effects to the music. His vocals are also very diverse, ranging from screaming, death metal growls, aggressive raw vocals, and melodic clean singing. Townsend is without a doubt one of the most versatile extreme metal vocalist on the scene, and while his performance here isn´t among his most varied and adventurous, he is still leagues ahead of other vocalists in the genre.

"SYL" opens with the short, powerful, and pummeling intro "Dire", before exploding and blowing the listener back in the seat with "Consequence". Strapping Young Lad surely know how to open an album with a statement of intent...and with "Relentless" and "Rape Song" it´s made abundantly clear that that intent is to beat the listener to a pulp with intense sonic violence. "SYL" is in many ways an incredibly extreme album, but the pace is lowered a couple of times during the playing time and tracks like "Aftermath" and "Force Fed" are a little more accessible and mid-paced heavy. Album closer "Bring On the Young" is a slow building, repetitive, and at its climax almost symphonic track.

"SYL" is probably the most stylistically consistent album by Strapping Young Lad. While still unconventional and adventurous, it´s not quite as diverse as the other albums by the band. It´s an angry album, focused a lot on aggression and brutality and it´s certainly Strapping Young Lad at their most dark and heavy. If that´s a good or a bad thing I´ll leave up to the reader to decide, but I personally rank both "City (1996)" and "Alien (2005)" higher and perceive them as more accomplished releases (the two albums bookending "SYL"). "SYL" is still a high quality release though, and as anything else released by Strapping Young Lad, it´s completely unique and doesn´t really sound like anything else on the scene. A 4 star (80%) rating is deserved.

MINISTRY In Case You Didn't Feel Like Showing Up

Live album · 1990 · Industrial Metal
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This live album is, perhaps, Ministry's finest moment. Leaning harder on the metallic side of their sound and veering further away from electronics, it consists of a short, angry blast of aggression using some of the post powerful and visceral songs selected from The Land of Rape and Honey and The Mind Is a Terrible Thing To Taste. It's a compact set offering everything which was thrilling and cutting edge about Ministry back at the dawn of the 1990s, drawn from some of their best albums, and the live context adds a little extra dose of fury which never quite translated into their studio albums of the era. Brilliant.

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ROB ZOMBIE The Zombie Horror Picture Show

Movie · 2014 · Industrial Metal
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The Zombie Horror Picture Show is a live release by the Industrial Metal band Rob Zombie. It was filmed in Texas and released in 2014 on DVD and Blu Ray, his first full concert video release. The Blu Ray version is in 1080p with DTS HD Master 5.1, Dolby TrueHD 5.1 and PCM stereo options.

Live CDs are great, but Rob Zombie has always been about spectacle, about visual, about putting on a show. It just makes more sense to release it in a visual medium. Here’s a list of things you can find on this concert film: Multiple costume changes (including prosthetic Nosferatu ears and a light-up mouth-guard) …when the band are already decoratively dressed and wearing make up to begin with; Multiple screens (showing a mixture of crowd footage, scenes from the music videos and dedicated footage such as horror imagery, strip tease, psychedelic visualizers and karaoke sing along prompts), light-up guitars, a see-through drum kit (which also has pentagrams projected onto it at one stage), balloons, confetti, fireworks and pyro and steam cannons, lights and lasers, customized mic-stands, fake snow falling, hired dancers in big puppet costumes, a giant prop that says ‘Zombie’ on it, a giant radio prop, a giant skeletal podium prop and even a giant steampunk-robot-chariot that drives around the stage and can move its head around. That’s more than most bands do in a whole career these days.

Its a very visual concert, with a lot to take in. The editing and camera work is all very high-budget stuff, lots of different angles available, movement, concentrating on the right parts of the song. There’s the occasional grainy film filters, or psychedelic looking screen mirrored down the middle or what have you, and during the intro, outro and a small selection of the more quiet parts it’ll cut to footage from the road. Its a very good looking film, well put together, not too stylized but not to plain. Very in keeping with Zombie’s tastes and artwork (Which makes sense seeing as Zombie himself directed it). Perhaps, there’s a few too many titty-shots. … a much higher proportion than normal really. If that’s off-putting to you then this aint the concert for you I fear, as there’s no getting around it here.

The band, featuring drummer Ginger Fish and guitarist John 5 (Hey, remember how cool Marilyn Manson was live when those two were in the band!?) as well as bassist Piggy D are all on top form, no free rides! Rob himself performs well and enthusiastically, really getting into it, dancing, interacting with the audience, going into the crowd etc. His vocals, which have been criticized on previous live releases are very strong here, and not a weak link at all. From everyone involved its a good performance, and the crowd seem into it.

The setlist is great; out of all of ‘Zombie’s live albums this has the most wide-ranging setlist, covering five solo albums and two White Zombie albums. Across its 80 minute length you’ll find all the hits you’d expect like ‘Dragula,’ ‘Living Dead Girl,’ ‘Never Gonna Stop (The Red, Red Kroovy),’ ‘Sick Bubblegum’ etc. There’s material from the then-new album Venomous Rat Regeneration Vendor (including a really storming rendition of ‘Dead City Radio…’). There’s also a brief drum solo and a slightly longer guitar solo where John 5 really gets to shred. There’s the popular Grand Funk cover of ‘We’re An American Band.’ The Educated Horses album is the least drawn-from album but then there was already a live album from that touring cycle so its good not to just repeat the same setlist twice. Everyone’s tastes are different and I’d personally have loved to add in ‘Scum Of The Earth’ and ‘Werewolf Women of the SS’ but otherwise it is a pretty amazing selection.

Sound wise, its is decent. The White Zombie covers sound nice and thick, and the more organic material from his solo catalogue fairs really well. Some of the more industrial sections maybe sound different live than on record but not in any way that spoils them. My only minor gripe is that my favourite ‘Zombie song, the very catchy ‘Ding Dang Dong De Do Gong De Laga Raga’ isn’t just as crunchy and massive live. Its good, but not just as satisfying. I think its just because there’s only one guitar track live and in the studio they can beef it up with more. Minor nitpick at most though.

There isn’t much in the way of extras at all, just a gallery, not even a booklet with linear notes or anything, but to be honest I bought it for the concert in the first place so that’s ok I guess.

Overall, in terms of set,sound, performance, spectacle, visuals and editing this is a very good concert film and I highly recommend it. If you are a fan already it is pretty perfect and as an introduction to the band it serves as a pretty high quality ‘greatest hits’ package with a nice career spanning collection of songs to give you a flavour for different eras.

MARILYN MANSON Guns, God And Government Live In L.A.

Movie · 2009 · Industrial Metal
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Marilyn Manson may divide opinion, he may be taken too seriously by some and not seriously enough by others and it just makes sense that if you don't already like Marilyn Manson then this Blu Ray isn't something you should buy. I'm not going to get into a debate with anyone about whether or not Marilyn Manson albums have been declining in quality over the years but I will say that if you think they have, then the track listing of this concert is perfectly suited to you, with all the material dating before the divisive 'The Golden Age of Grotesque' album.

You may already know this; but for those who don't, this Blu Ray is not a simple transfer of the previously released DVD 'Guns God And Government,' which featured footage from all around the world on different nights. The Blu Ray is taken entirely from one concert in LA during the same tour but also features the same bonus features as the original DVD (chiefly a documentary/montage entitled 'The Death Parade')

The concert is just over and hour and a half in length and features sixteen tracks, including the unreleased 'Astonishing Panorama of the End Times,'as well as seven tracks from the then new Holywood album in addition to a selection of live favorites from older albums. The band features John 5, Twiggy Ramirez, M.W. Gacy and Ginger Fish, in what many fans have come to consider the classic line up.

The video quality is pretty incredible and its surprising just what a huge improvement this is over the previously released DVD, especially when the house lights are up. When the lights are up, this 2002 concert looks better than many live Blu Rays filmed as recently as last year and the team behind this Blu Ray have clearly done an excellent job. In addition to the sterling video quality, the sound is utterly fantastic and as with the video it honestly rivals the majority of modern concerts on Blu Ray.

The performance is excellent, right from the start you know you are in for a theatrical and over the top experience as Manson arrives on stage in a chariot pulled by bikini girls to a stage featuring huge backdrops of crucified fetuses, crucifixes made of various rifles and revolvers, a tonne of dry ice and even naked dancers. The set also contains the infamous slit walk and 'growing,' as well as several costume changes for Manson and one or two minor costume enhancements for the rest of the group.

If you didn't already know, while the band do perform live Marilyn himself sings over a prerecorded live vocal track when he is doing anything theatrical such as the stilt walk or standing behind the pulpit and from repeat viewings I have begun to think that while he sang live over the track on the night, these vocals were erased from the mix and replaced with the live track entirely although I am not 100% certain.

The Blu Ray specs are as follows: 1080i HD Widescreen (1.78:1) LCPM Stereo, Dolby Digital 5.1, DTS HD Master Audio.

In summary this is an absolutely excellent product in and of itself, doubly so if you prefer this period in Manson's history, and an extra star is warranted if you aren't put off by the vocal track not matching up to Manson's mouth movements.

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