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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DØDHEIMSGARD Supervillain Outcast Album Cover Supervillain Outcast
DØDHEIMSGARD
4.53 | 18 ratings
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STRAPPING YOUNG LAD Alien Album Cover Alien
STRAPPING YOUNG LAD
4.39 | 35 ratings
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RAMMSTEIN Mutter Album Cover Mutter
RAMMSTEIN
4.20 | 55 ratings
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NINE INCH NAILS Broken Album Cover Broken
NINE INCH NAILS
4.28 | 21 ratings
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STABBING WESTWARD Ungod Album Cover Ungod
STABBING WESTWARD
4.44 | 6 ratings
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STABBING WESTWARD Darkest Days Album Cover Darkest Days
STABBING WESTWARD
4.38 | 7 ratings
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RAMMSTEIN Reise, Reise Album Cover Reise, Reise
RAMMSTEIN
4.06 | 47 ratings
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KMFDM Nihil Album Cover Nihil
KMFDM
4.44 | 5 ratings
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KILLING JOKE Killing Joke Album Cover Killing Joke
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
MINISTRY
4.09 | 16 ratings
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RAMMSTEIN Sehnsucht Album Cover Sehnsucht
RAMMSTEIN
3.97 | 46 ratings
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STRAPPING YOUNG LAD The New Black Album Cover The New Black
STRAPPING YOUNG LAD
4.02 | 18 ratings
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industrial metal Music Reviews

STRAPPING YOUNG LAD City

Album · 1997 · Industrial Metal
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SilentScream213
The sophomore album by Strapping Young Lad is a much more concise piece of music with a clear direction. There were many aspects I liked about this album: - The rhythm section is fantastic. Drums are energetic and aggressive just as I prefer. - Production is pristine. Every instrument is audible and some interesting Industrial sound effects add layers to the compositions. - Devin’s voice is awesome. His range is incredible, usually hitting somewhere between melodic singing and screaming, but going every which way up and down that spectrum, and doing it all very well.

Unfortunately, this album has a lot of weakness that really stifle the enjoyment for me. - The riffs are boring. They are mostly rhythmic, with very little lead guitarwork and nothing at all memorable being crafted with the guitars. - The lyrics are mostly bad, with too much unnecessary vulgarity that just doesn’t work. - Devin adopts a “tough guy” persona on the album and whether it’s a joke or not doesn’t matter, it’s really annoying and really cringy. - Devin is known for being a musical chameleon, but this album is (among his work) quite samey front to back, with most songs being Thrashy/Groovy Industrial Metal. That wouldn’t be a problem, but they all suffer from the same exact weaknesses, which makes the samey-ness that much more offensive.

That leaves this album a really mixed bag for me. It’s a good album, but it has way more potential than it ever reaches, and too many weaknesses that hold it back.

STRAPPING YOUNG LAD Heavy as a Really Heavy Thing

Album · 1995 · Industrial Metal
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UMUR
"Heavy as a Really Heavy Thing" is the debut full-length studio album by Canadian metal act Strapping Young Lad. The album was released through Century Media Records in April 1995. Band founder Devin Townsend formed Strapping Young Lad after having recorded and toured with Steve Vai and subsequently toured with The Wildhearts before getting tired of and angry with the music business. He often felt like he was seen as a product rather than an artist, and he began to resent that. He needed a place to let out some steam and as he had been blown away by Fear Factory´s aggressive, industrial oriented, and heavy technical take on extreme metal, Townsend felt that he had the right ingredients to make something aggressive and unique, by combining the heavy, sharp, and aggressive extreme metal influences from artists like Fear Factory, Machine Head, and Sepultura, with the industrial sounds of artists like Ministry, Skinny Puppy, Nine Inch Nails, and Marilyn Manson.

The 2006 Century Media Records ressue of "Heavy as a Really Heavy Thing" includes a 12-page booklet with extended liner notes by Townsend where he recalls the troubles he had getting a record contract. I found one anekdote particularly entertaining. After Townsend had spend a lot of time recording and sending demos and going to business dinners with Roadrunner Records, his project was rejected by the label. He promtly responded by sending Monte Conner from Roadrunner Records a package full of rocks and a picture of his asshole. Townsend had originally promised Monte Conner that the project he had been working sounded like Type O Negative (who were one of the most successful contemporary artists on the label). The picture of Townsend´s asshole is of course a reference to Peter Steele from Type O Negative flashing his asshole on the original cover artwork for the "The Origin of the Feces" live album. A reference Monte Conner must have picked up immedately. That is some great dark humour in my book. Fully displaying the madman genius of Townsend.

Stylistically it´s pretty hard to explain how the music sounds, but hard edged thrashy/groove thrashy chugging riffing, loads of samples, effects, and sounds, and some often manic sounding vocals are some of the ingredients on this album. The trademark Townsend wall of sound production is very present already on this early discography album. Headphones is a good idea if you want to experience this album and get the most out of it. The tracks feature so many different layers of guitars, synths, effects, vocals, and samples, that as a listener it often feels like you´re being sonically assaulted and your ears are abused. In that respect "Heavy as a Really Heavy Thing" isn´t the most dynamic release out there. But it´s by no means a one-dimensional release either, and Townsend often surprise the listener with for example a melodic part or something else which breaks the furiously energetic and intense core sound of the album.

The quality of the material is a bit up and down and sometimes the tracks sound a bit too much like experiments/sketches of songs and not enough like fully realised compositions. On the other hand those are some very interesting experiments and that counts for something too. The two tracks which open the album titled "S.Y.L." and "In the Rainy Season" are probably the songs on the album which remind me the most of later material by the band. The former is an absolutely brilliant track. The 2006 Century Media reissue of the album includes 4 bonus tracks and the video clip for "S.Y.L.". None of the bonus tracks add much value to the album if you ask me. The cover of the Judas priest song "Exciter" is not among Strapping Young Lad´s finest moments that´s for sure.

"Heavy as a Really Heavy Thing" walks the fine line between madness and genius, crazy noise and brilliant compositions. It´s a very difficult album and it won´t please everyone. All of Strapping Young Lad´s albums have a distinct direction and unique sound, but "Heavy as a Really Heavy Thing" is probably the one which stands out the most, because it´s vastly different from the rest. For better and worse. A 3 - 3.5 star (65%) rating is warranted.

FEAR FACTORY Obsolete

Album · 1998 · Industrial Metal
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UMUR
"Obsolete" is the third full-length studio album by US death/groove/industrial metal act Fear Factory. The album was released in July 1998 through Roadrunner Records. It´s the successor to "Demanufacture" (June 1995, Roadrunner Records) and features the exact same quartet lineup who recorded the predecessor. The original album contains 10 tracks while the limited edition digi-pack features 5 bonus tracks. "Obsolete" has sold enough copies to be certified gold, which is actually quite the achivement for an album this extreme. But it says a lot about how popular Fear Factory were in those years.

The music is a combination of futuristic death metal, industrial metal, and alternative/groove-metal. There´s actually an organic edge to the sound on the album that was definitely not present on "Demanufacture", but the music is still quite mechanical and sharp in execution. We´re still treated to triggered artificial sounding bass drums and a polished futuristic production, so the word organic shouldn´t be misinterpreted here.

The lyrics on the album features a sci-fi concept story about the Edgecrusher and his struggles for freedom in a totalitarian machine dominated world sometime in the future (2076 A.D to be exact). It´s like reading a Philip K. Dick novel or watching a Terminator movie. In addition to the lyrics there are explanations to each song, which is a really great help if you want to understand and follow the story. So there´s a bleak and sinister sci-fi atmoshere on the album and the music follows suit. Not that "Obsolete" is the darkest album that I´ve ever heard, but the point is that the lyrics and the music suit each other well.

"Obsolete" features an increased use of alternative and groove based heavy riffing which are added to Fear Factory´s industrialized death metal style. I´m sure the most old school deathgrind fans, already jumped ship on "Demanufacture", so this is just to say that "Obsolete" travels further down the more groove oriented riff and rhythm style initiated on the predecessor. Some of the highlights of the album are "Securitron (Police State 2000)" and "Descent" but all tracks are of a high quality and work well within the concept story of the album.

I´m not sure Burton C. Bell´s limited clean vocal range should have tried forces with the closing ballad track "Timelessness" though. He is way out of his league on that track and struggles to keep the pitch. His vocal performance on this album is otherwise decent enough. His skills may be limited (which at times limits the music itself), but at least he has a distinct souning voice and a singing style which he doesn´t deviate much from. His raw shouted vocals are pretty strong and when he performs harsher but still clean vocals like he does in "Descent", the outcome is much more successful than when he performs his more sterile cleans.

Upon conclusion "Obsolete" is a both well written, well performed, and well produced release, and it shows development from "Demanufacture", which means that it´s just not a clone of their past success. That´s always praise worthy when you release something on the heels of your commercial breakthrough release. Some artists fall into the trap thinking that their audience just wants version 2 of said release, and releasing a copy of a past success is almost always doomed to failure. Fear Factory steer clear of anything like that and while "Obsolete" isn´t as groundbreaking or as unique as "Demanufacture" is, it´s still a high quality release and a 3.5 - 4 star (75%) rating is deserved.

GODFLESH Songs of Love and Hate

Album · 1996 · Industrial Metal
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SilentScream213
Godflesh remains one of those bands I just don’t “get.” Each song is more or less one rhythmic pattern repeated nonstop and a handful of boring, repetitive riffs. Back on their debut, at least this style was novel, though I liked it no more then than I do now. By Songs of Love and Hate, there were already a few other Industrial Metal bands offering a lot more than Godflesh, and I still fail to see the acclaim given here. Honestly, I actually dug this more on the first listen, not paying too much attention to it and enjoying the rhythmic aggression. Unfortunately, more focused listened revealed just how boring it is, with almost no memorable moments whatsoever.

That aside, there is one accolade I will give this album. The track Frail is legitimately good musically, it sounds quite different from the rest, with a bit more energy, melody and emotion.

I would love to see them explore more sounds like on their Cold World EP, or like the track Frail here, but alas…

CONTROL HUMAN DELETE Terminal World Perspective

Album · 2007 · Industrial Metal
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UMUR
"Terminal World Perspective" is the debut full-length studio album by Dutch industrial black metal act Control Human Delete. The album was released through Code666 Records in March 2007. Control Human Delete formed in 2001 and released the "Error Spectre" EP in 2003.

Stylistically the material on "Terminal World Perspective" continue the industrial black metal style of the preceding releases. It´s a pretty long album featuring 9 tracks and a total playing time of 71:18 minutes. Two of the tracks are 10 minutes plus long ambient keyboard/synth darkwave compositions though, so there´s some variation to the concept there. The remaining tracks are loaded with programmed blasting drums, fast-paced black metal riffing, the occasional mid-paced, heavy, and often dissonant part, and snarling aggressive black metal vocals. The tracks often feature sci-fi tinged effects, samples, and keyboards/synths, which will transport you right into space.

"Terminal World Perspective" is a well produced release, featuring a powerful, raw, and detailed sound production, which suits the material well, and Control Human Delete are a well playing unit too, so the basics are in place and of a good quality. The songwriting is also relatively intriguing, although few tracks stand out or are memorable beyond their playing time. The two ambient tracks are a little too long for their own good, and while I don´t think they are out of place on the album in terms of atmosphere, they would probably have been better suited on a sci-fi movie soundtrack.

So upon conclusion "Terminal World Perspective" is arguably an interesting and different sounding black metal release, although other black metal artists have done similar things before, and with better results too. Still a 3.5 star (70%) rating isn´t all wrong.

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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