Industrial Metal

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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):

industrial metal top albums

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KILLING JOKE Killing Joke Album Cover Killing Joke
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STRAPPING YOUNG LAD The New Black Album Cover The New Black
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industrial metal Music Reviews

GRAVITY KILLS Gravity Kills

Album · 1996 · Industrial Metal
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Warthur
The 1990s wasn't exactly short of acts trying to hop on the industrial rock bandwagon kicked off by the likes of Skinny Puppy, Ministry, and Nine Inch Nails, but the debut album by Gravity Kills is a particularly blatant example. Take a mid-tier Nine Inch Nails album, strip away anything atmospheric or adventurous so you are left only with the most commercially-oriented and cliched songs, stuff in more industrial rock cliches to fill out the gaps, and swap out Trent Reznor's vocals for vocals by someone who's audibly struggling to sound like Trent.

Guilty is catchy - as it should be, it's the song which landed them their record deal in the first place - but the rest is just a rote attempt to rehash that, which was itself a rote attempt to rehash one of NIN's simpler efforts. Worth it only if you have very intense nostalgia for this musical era, but even then you'll probably find listening to this makes you think "meh, Trent did it better" and throw on the Broken EP instead.

DEAD WORLD Thanatos Descends

Album · 1996 · Industrial Metal
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UMUR
"Thanatos Descends" is the third full-length studio album by US industrial metal act Dead World. The album was released through Malsonus in 1996. It´s the successor to "The Machine" from 1993 although the two full-length studio albums are bridged by the 1994 "This Will Hurt Someone" EP.

Stylistically "Thanatos Descends" is industrial metal. It´s heavy, gloomy, raw, and repetitive in nature and there are also influences from both drone and noise on the album. After the opening track "Warhammer" which is a relatively regular Dead World track, we are for example treated to an almost painful noise track in "Thanatos I". Imagine how it would sound if you recorded a chain saw cutting through steel pipes, backed by gloomy keyboards and eerie low-in-the-mix samples for three full minutes would sound like...I´m pretty sure it would sound like "Thanatos I". Nasty noisy stuff. "Thanatos Descends" unfortunately features both "Thanatos II (Parts 1 & 2)", "Thanatos III (Parts 1 & 2)", "Thanatos IV", and "Thanatos V", which are all noise/drone type tracks, and they aren´t just shorter interludes, but regular full-length tracks.

The industrial metal tracks (there are only 4 of them on this album hidden away between the "Thanatos" noise/drone tracks) sound a little tired and the vocals don´t help as they are sedated and distorted talking/singing. So unfortunately Dead World didn´t leave with a high quality swansong. "Thanatos Descends" is an album which is hard to appreciate if you don´t enjoy noise/drone and it´s also a bit incoherrent with 4 industrial metal tracks and 5 noise/drone tracks placed on the same album. A 2.5 star (50%) rating is warranted.

DEAD WORLD This Will Hurt Someone

EP · 1994 · Industrial Metal
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UMUR
"This Will Hurt Someone" is an EP release by US industrial metal act Dead World. The EP was released through Release Entertainment in April 1994. It bridges the gab between Dead World´s second- and third full-length studio albums "The Machine" (1993) and "Thanatos Descends" (1996).

"This Will Hurt Someone" is a 4 tracks, 21:19 minutes long EP, and the title track which opens the EP is quite different from anything Dead World have released before. It´s an uptempo electronic industrial music track and there are no heavy distorted guitars and bass on this track. The only vocals on the track are movie samples. It´s maybe a little repetitive, but otherwise it´s a pretty effectful and interesting track. "Paroxysmal Euphoria" is a dark, noise/drone type track, which is a pretty raw and gloomy listen (featuring some beastly/demonic movie samples).

Next up is an edited version of the title track from the preceding album ("The Machine"), and Dead World actually made a promotional video for this version of the track (the original 8 minutes long version probably wasn´t the best pick for a promotional video). It completely changes the mood and direction of the EP, as it´s a heavy, doomy, and distorted guitars/bass loaded track. The closing track titled "Dead World" is pretty surely a take-out from the recording sessions for "The Machine", as it features a similar sound production and writing style as the material on that release. It´s a decent quality track and it could easily have been included on the full-length studio album.

"This Will Hurt Someone" is upon conclusion an interesting EP release from Dead World, and it looks into the future and the electronic music projects of Jonathan Canady (who at this point was the only member of Dead World). Canady would have one more metal oriented release in him though before he would lay Dead Word to rest and concentrate his efforts on electronic music. A 3 star (60%) rating is warranted.

DEAD WORLD The Machine

Album · 1993 · Industrial Metal
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UMUR
"The Machine" is the second full-length studio album by US industrial metal act Dead World. The album was released through Release Entertainment in October 1993. It´s the successor to "Collusion" from September 1992. There´s been one lineup change since the predecessor as drummer Greg Knoll has left. Knoll has not been replaced and instead the drums on the album are programmed. Dead World is therefore down to the duo of Jonathan Canady (bass, guitars, samples, vocals) and Kevin Kopp (guitars, samples, additional vocals).

The inclusion of a drum machine is actually quite suiting for the repetitive, gloomy, and heavy industrial metal of Dead World, and I find that the drum machine works much better for them than Knoll´s drumming did on "Collusion". "The Machine" is on most parameters a step up in quality since the debut album, and while Dead World have adopted some alternative/industrial rock leanings here (Nine Inch Nails had just debuted the year before), and have cut out the semi-death metal elements of the debut album, "The Machine" is ultimately still a cold, heavy, and gloomy sounding industrial metal release in the vein of the early releases by Godflesh and Skin Chamber (in other words it probably wouldn´t be enjoyed by Nine Inch Nails´s or Marilyn Manson´s audiences). Most tracks are effective, driving, and hard heavy grooving, but the industrial noise/sample track "Blood Everywhere", which is placed right in the middle of the tracklist disrupts the flow (or works as a breather...you decide).

The heavy riffs, mechanic rhythms, organic bass, and droning lead guitars work pretty well and create an apocalyptic and grim atmosphere, but the distorted shouting/singing/talking vocals don´t add enough to the music. When they are best, they add an extra eerie spice to the already grim mood of the music, but when they are worst, it sounds like a toneless Marilyn Manson has been given access to the recording sessions. Still there are more positive than negatives to say about "The Machine" and I generally find myself enjoying it quite a bit. A 3 - 3.5 star (65%) rating is warranted.

DEAD WORLD Collusion

Album · 1992 · Industrial Metal
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UMUR
"Collusion" is the debut full-length studio album by US industrial metal act Dead World. The album was released through Relapse Records in September 1992. Dead World was formed in 1991 by Jonathan Canady (bass, guitars, samples, vocals), Greg Knoll (drums), and Kevin Kopp (guitars, samples, additional vocals). The former had worked as an art directer at Relapse Records and therefore knew Relapse Records founders/owners Matthew F. Jacobson and William J. Yurkiewicz Jr., who are both credited as executive produers of the album. So this is in some ways a Relapse Records family album...

...and honestly it probably wouldn´t have been released without Jacobson´s/Yurkiewicz Jr.´s involvement. I know it´s a bit flippant to call the release of "Collusion" a friend service, but I can´t see it any other way. The quality of the music is not very high, and sound production wise this doesn´t rank much higher than a good quality demo production. Stylistically this is a heavy, slow- to mid-paced and doomy industrial metal sound with some effect laden semi-growling/shouting vocals on top (and the occasional use of samples). The regular tracks are often bridged by shorter industrial noise interlude tracks. It´s like listening to the less talented brother of Godflesh or Skin Chamber. Old school, filthy, and gloomy sounding industrial metal. Repetitive, one-dimensional, and raw, but ultimately not particularly accomplished. A 2.5 star (50%) rating is warranted.

industrial metal movie reviews

ROB ZOMBIE The Zombie Horror Picture Show

Movie · 2014 · Industrial Metal
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Kingcrimsonprog
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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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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