Industrial Metal

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Industrial metal is a heavy metal musical genre that draws from industrial music and many different types of heavy metal, using repeating metal guitar riffs, sampling, synthesizer or sequencer lines, and distorted vocals. Founding industrial metal groups include Ministry, Godflesh and Fear Factory.

Industrial metal's popularity led to some criticism from other artists associated with the industrial scene. Subsequently, it is most well-known in various European permutations. Industrial metal groups have produced many acclaimed music videos.

Inclusive Industrial Metal Genres:

Neue Deutsche Härte (New German Hardness)

Trance Metal (sometimes alternately called Dance Metal)

Source: http://en.wikipedia.org/wiki/Industrial_metal

Sub-genre collaborators:
  • Stooge
  • Unitron

industrial metal top albums

Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 5 min. caching

MINISTRY Psalm 69 Album Cover Psalm 69
MINISTRY
4.43 | 19 ratings
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SAMAEL Solar Soul Album Cover Solar Soul
SAMAEL
4.60 | 8 ratings
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STATIC-X Machine Album Cover Machine
STATIC-X
4.83 | 4 ratings
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NAILBOMB Point Blank Album Cover Point Blank
NAILBOMB
4.69 | 5 ratings
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STRAPPING YOUNG LAD Alien Album Cover Alien
STRAPPING YOUNG LAD
4.33 | 27 ratings
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NINE INCH NAILS Broken Album Cover Broken
NINE INCH NAILS
4.37 | 14 ratings
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MINISTRY The Mind Is a Terrible Thing to Taste Album Cover The Mind Is a Terrible Thing to Taste
MINISTRY
4.47 | 7 ratings
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STABBING WESTWARD Ungod Album Cover Ungod
STABBING WESTWARD
4.66 | 4 ratings
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RAMMSTEIN Mutter Album Cover Mutter
RAMMSTEIN
4.22 | 42 ratings
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GODFLESH Pure Album Cover Pure
GODFLESH
4.61 | 4 ratings
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RAMMSTEIN Reise, Reise Album Cover Reise, Reise
RAMMSTEIN
4.19 | 34 ratings
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WHITE ZOMBIE Astro-Creep: 2000 Album Cover Astro-Creep: 2000
WHITE ZOMBIE
4.26 | 11 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

STATIC-X Wisconsin Death Trip

Album · 1999 · Industrial Metal
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Unitron
Static-X - Wisconsin Death Trip

'Wisconsin Death Trip' is the debut studio album by industrial metal band Static-X. The 90's were an amazing decade for industrial metal. While the 80's were the pioneering years with such early masterpieces of industrial metal like Godflesh's 'Streetcleaner' and Ministry's 'The Mind is a Terrible Thing to Taste', the 90's was really the height of the genre with masterpieces like Killing Joke's 'Pandemonium', Ministry's 'Psalm 69', Rammstein's 'Sehnsucht', White Zombie's 'Astro-Creep: 2000', and Godflesh's steady flow of amazing albums. At the tail-end of the 90's, Static-X came on to the scene with their debut.

Immediately the album starts out with chugging riffs in the opener 'Push It'. Wayne Static's deep voice really fits perfectly with the aforementioned riffs and the pounding mechanical drums. After the chants 'I see it, I need it' there's some really nice guitar screeches. Also, the music goes really well with the futuristic/sci-fi claymation music video. 'Push It' is definitely one of those killer opening songs that makes the rest of the album lack in comparison.

Now, that's not to say there aren't any other really awesome songs, 'Bled For Days' is a really good song with a nice jump-y industrial beat combined with crunching riffing. The song 'I Am' starts out sounding like an industrial version of Pantera, but soon becomes another chugging industrial track. Static has a pretty good vocal range, being able to go from deep toned to a higher pitched scream as heard in this track especially. Next comes 'Ostegolation', which reminds me of a more aggressive Nine Inch Nails, with Static's voice having that sort of nasal-y tone at times with the NIN-esque beat. 'Sweat of the Bud' is three and a half minutes of fast crushing riffs and pounding mechanical drumming.

Overall, while I don't see this as one of the best industrial metal albums of the 90's, it's still a great album. I may think it was one of the best if the rest of the songs were of the same quality of 'Push It' but there's some filler. Static-X started out well, especially the next one 'Machine', but for me they wouldn't reach their ultimate height until 'Cannibal'. Hope you found this review helpful.

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MARILYN MANSON Antichrist Superstar

Album · 1996 · Industrial Metal
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siLLy puPPy
The man and the band who were not born with enough middle fingers to choose a side were back two years after their rude and crude musical theatrical depiction of the dark side of American culture and returned with the ultimate of chosen sides guaranteed to ruffle religious feathers and as well as finding themselves a target of congressional hearings which took the shock rock 2.0 style of goth and doom to the very heart of the American fabric to ascertain the effects of the provocative lyrics that could possibly create revolutionary thoughts and actions.

ANTICHRIST SUPERSTAR was dropped upon the musical world like an atomic bomb and left the impact crater that caught the world’s attention instantly gathering up such disparate musical influences of Alice Cooper’s shock rock theatre, hardcore punk’s attitude of dissent and utter contempt for society at large, the alternative grunge guitar eschewing the neoclassical leanings of the 80s, the industrial embellishments of Skinny Puppy with the catchy pop sensibilities of any the NIN-led Trent Rezner who has his role into propelling the production into a goth-dance club gone to hell and oh, let’s not forget about the sleep deprivation induced make up job that would make Brian Hugh Warner, leader of the band look like a cover girl gone wild and possibly a contender as Tammy Faye Baker look alike who would be smothered by a pillow in her once placid slumber.

This is an album that i was utterly against even hearing for the longest time simply due to the fact that it eschewed any progressive leanings of developing the metal genre and seemed like a retrograde of sorts, but i have to admit that this was the album for me that broke down the barriers of snobbery and immediately opened up a floodgate of music that is simply expressive in a more simplistic way without having the desire to delve into every contemplative way of being complexer-than-thou. MARILYN MANSON was a force to be reckoned with in 1996 providing simply catchy metal riffing, a hardcore attitude and enough thought provoking anti-establishment criticism that would even make Che Rivera cover his face in corpse paint and belittle “The Beautiful People.”

While i do indeed find this album to be a major pivotal point in my musical development, i do have some serious critique regarding it’s balance as the supposed rock opera that was intended to be as magnanimous as any that came before. My first reaction is - what theme? This album does not constitute a ridiculously convoluted theme of any sort. It is basically just a 77:26 musical rant that incorporates snide razor sharp criticism to undermine the oral defecation of the day and on that front it does an excellent job but let’s face it, this is an excellent collection of tracks that don’t hold together perfectly even if the majority of them are adeptly constructed and executed. A nice little teenage angst opera if you will.

Personally i really love most of the tracks on here with the sword piercing consciousness expanding material and groovy metal meets dance that was soooo not the norm of the day but as an overall expansive concept album this just flops big time and is probably the reason many don’t regard this as any kind of relevant historical marker despite many of us who love it being mesmerized by the musical output. I also find many tracks to derail the overall feel. I could never stand “Tournequette” and “Little Horn” early on in the album and find the album’s track order could have been more effective for communicating an overall theme of some sort, but this is hind site and we all know that is 20/20. While this album is not a timeless classic, there are plenty of classic moments shining like brilliant diamonds in the queen’s crown only unfortunately there are plenty of turds to mire the overall impression which for better and more often much worse was the destiny for MARILYN MANSON in the long run. It does seem after many years of listening to this one that a bit more maturity in construction could have added to the overall effect of what the man and band were aiming for, but for what it is, i still find this to be an exciting listen despite it not being my ultimate protest album of the century. While the muthafuckin’ anti-Pope didn’t quite have what it took to be the tsunami of rebellion that was planned, it is true that the songs were well constucted, excellently executed and passionately delivered. Unfortunately it seems that MANSON blew his wad with this one and from here on he (the man) has only been grasping for straws in style and musical content. I personally find this one to be a unique and compelling album that delivers the concentration of societal angst in a huge explosion of musical expression. Perfectly executed? Nope, but i can still put this album on years later and feel a connection to an era. Not bad.

SKIN CHAMBER Trial

Album · 1993 · Industrial Metal
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Vim Fuego
Imagine the dystopic nightmare worlds of Terminator, The Matrix and 1984. Your thoughts are no longer your own. You are part human, part machine. A higher force controls you, compels you. This is the soundtrack to that nightmare.

The edge between synthetic and organic sounds is totally blurred. Highly distorted multi-tracked guitars squealing, crushing, moaning; thundering staccato bass rhythms, throbbing with mechanical persistence; robotic precise percussive rhythms crash against random clatters of automation and industry. Over it all, Paul Lemnos and Chris Moriarty trade shouts of bellowing anger and hissing malevolence. You can imagine the pair: one red faced, veins bulging and pulsing on neck and forehead, dripping with sweat, shuddering with rage; the other narrowed wicked eyes, a serpent's tongue darting between thin, evil lips.

If NIN is the popular face of industrial, Skin Chamber is the...inbred cousin locked in the cupboard under the stairs, creating and destroying empires among the cockroaches and rats, ready to bite anyone unsuspecting who accidentally opens the door. While Trent Reznor prances about like a Gothic dandy in his Hollywood mansion, exuding pseudo-angst and pathos, this pair would be shovelling coal into the boiler in Reznor's basement, throwing an occasional dismembered body part into the beckoning flames.

The song structures are fairy basic, but so skewed as to be almost unrecognisable as songs. Often they are thrown together with something which sounds like an introduction, and there are verses and choruses, of a sort, and then the songs end, unexpectedly. Time signatures and tempo seem to be treated as a nuisance, to be adhered to every once in a while, but time becomes immaterial. All the instruments are laden with distortion, and at times it is physically impossible to identify where guitars end, bass begins, and where the drums are meant to be. While none of the tracks are as memorable as "Sucked Inside" from the first album ‘Wound’, this is an album best listened to as a whole, rather than broken into individual tracks.

A specialty of this pair is noise. "Swallowing Scrap Metal Part 5" is a 25 minute exercise in endurance for the uninitiated listener. Starting with a rumbling ominous moan, something like depressed Gregorian monks on downers in a cave, the track suddenly crashes head on into your worst nightmare. A storm of sounds hits the eardrums, unidentifiable, indistinguishable, and inconceivable. Painful feedback, screeches to set your teeth on edge, jet engine blasts, static, white noise, make it stop, can't stop...

At once compelling and repulsive, it is electronic Armageddon.

NAILBOMB Proud to Commit Commercial Suicide

Live album · 1995 · Industrial Metal
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Vim Fuego
As far as recording quality goes, this live album is the equivalent of those fuzzy snapshots of the Loch Ness monster or Bigfoot. There is sort of a vague impression of what's actually there, but it could be anything really, and is hardly convincing.

This album was always going to be a one off shot, only one chance to get it right. Nailbomb existed in the studio for one blistering album and two live shows, this being the second of those shows. It was recorded during the 1995 Dynamo festival. It may have been a great live performance. It just doesn't sound it here.

The show kicks off solidly enough with a blast through "Wasting Away". However, it is instantly noticeable the samples and electronic beats are not fully in phase with the rest of the sound. Perhaps Eindhoven was windy that day, but the samples, which were an essential part of creating the Nailbomb identity, are almost completely lost.

But after that, it just seems to all go downhill. It is a truly live album, with all the fuck ups and piss poor sounds left in, but after the amazing 'Point Blank', this really doesn't cut it. Max's vocals seem to drown out everything else, and the rhythm guitar sounds flat.

All is not lost though. The rumbling "Sum Of Your Achievements" is an aural steamroller. "Religious Cancer" would have been an excellent fist pumping shout–along anthem in the live arena.

However, after that, the whole show really just tails off terribly. The cover of the Dead Kennedys' "Police Truck" seems like a school orchestra played it. It is out of time, and you can almost feel everyone on stage (including DK’s drummer D.H. Peligro) looking around wondering what comes next. The cover of Doom's "Exploitation" is a little better, except someone fucks up the vocals. The rest of the live songs are just plain poor. It is almost comforting when 'Sick Life' finally tails off into feedback oblivion.

Two studio tracks were tacked on the end of the album, apparently leftovers from 'Point Blank'. Enough said. Some things best remain unreleased.

In the liner notes, Max and Alex say, "The Dynamo show is full of mistakes and technical problems, but that's how it was on the day. We think it captures the spirit of the band, unlike a lot of (live) albums today". Many live bootlegs sound better than this. If this is the spirit of Nailbomb, then it was killed off just in the nick of time. This project should have stayed in the studio.

NAILBOMB Point Blank

Album · 1994 · Industrial Metal
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Vim Fuego
Side projects can be a dodgy proposition. Look at the likes of Brujeria, Six Feet Under, Meathook Seed, Superjoint Ritual, Viking Crown or any number of famous offshoots. All contain members of better known bands who wanted to try a different musical style to their normal gig, but failed to deliver a satisfying performance. They're often indulgent record company favours to keep artists interested, and to gouge fans when a major release is still some time off.

Of course, there are exceptions; S.O.D., Mr Bungle, and Down immediately spring to mind as projects enjoyable to fans of the original artists as well as a wider audience. So does Nailbomb.

Former Sepultura main man Max Cavalera and Alex Newport, of Fudge Tunnel fame, combined their collective forces and produced a master work of massive proportions in Nailbomb, in the process creating one of the best albums of the year for 1994.

The basis for Nailbomb was a guitar sound of titanic proportions melded with a number of rhythms– hardcore, electronic, metallic; synthetic and organic. Over top of it all, Alex and Max trade vitriolic hardcore shouts, keeping it simple and angry in their lyrical targets. Further messing up the mix are some excellent samples, including an absolute classic from "Henry: Portrait Of A Serial Killer". A veritable metallic supergroup, including Igor and Andreas from Sepultura, and Dino Cazares of Fear Factory, helped out.

And what was the final result? An album of hardcore inspired tracks, combining anger filled political and social commentaries with one of the most crushing guitar sounds ever heard. While most comment on this album has concentrated on Max's involvement, it sounds more like a spiced up Fudge Tunnel album than it does a Sepultura by-product. The vocals are often held back in the mix, as Newport was fond of doing in his full time band. There are more Fudge Tunnel-isms in the basic hardcore riffing and some of the song structures.

The rhythm guitar on this album is part sonic boom, part jet engine roar. It really needs to be heard to be believed. Pick any song at random, except the mainly electronic "Shit Piñata", and you will hear it crushing all before it. Whether it's the unstoppable juggernaut in "Sick Life", or the hidden ambush attack of "For Fuck's Sake", the sound is just staggering. This may sound like hyperbole and over emphasis, but take a listen for yourself. Anyone who is not impressed is either deaf or being deliberately obstinate.

This album far outstrips anything either man has been involved with since. Many thought it would be the direction Sepultura would follow. As we now know, Sepultura ripped itself apart, spinning off the awful tribal nu-metal shlock of Soulfly, a watered down and much weakened Sepultura, and the long overdue reunion in the form of Cavalera Conspiracy. None of these entities can touch Nailbomb. ‘Point Blank’ is a metal classic, in every sense.

industrial metal movie reviews

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

Movie · 2009 · Industrial Metal
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Kingcrimsonprog
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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