Industrial music reviews

This is NOT a Christian CD- there is no hope and is only filled with hate filled lyrics- not a sliver of Christ! Believe me I wanted to find the hope- the music is amazing.

Example: "Hate pulses straight through my vains Every time I hear your name... Forgiveness has been denied You have left me scarified" (from the song "Scarified")

Romans 1:16 "For I am not ashamed of the gospel of Christ: for it is the power of God unto salvation to every one that believeth; to the Jew first, and also to the Greek."

It's music like this that I tend not to forget. I walked into my local "Christian Book Store and Office Supply" and the manager told me immediately that Klank was the new thing, and a big thing at that. This store is actually awesome enough to have a place where you can listen to a certain CD to determine whether or not you might be interested. I checked out the insert, and I saw that lead singer, Daren Diolosa actually had something to say. The man's been through a lot. He's still around, and that is very commendable. On the surface, I would've easily figured that he was a Christian. Some of his lyrics suggested so. But then again, some of them were more than personal.

With songs that hammer away so violently such as "Scarified", and then ones such as "Disease" whisper deep into the soul, it was easy to instantly love the way he put this together. The song, "Leave" was what caught my attention. So what's my beef? Daren Dialosa took Tooth & Nail Records for a ride from the beginning, and he knew exactly what he was doing! That sucker signed contract in BLOOD, implying THAT was his way of saying how serious his lyrics were, and his relationship to Christ. I read the interview. Then when his next CD came out, "Numb", and he wasn't with Tooth & Nail, he pulled an "I never said that" story about his relationship with Christ. What's so sad about this is that Klank actually witnessed to me in "Still Suffering", and then he pulls this. That tells me one thing about Mr. Daren Diolosa. He's STILL REALLY INSECURE about himself, and it REALLY puts his integrity on the line. People such as that have no integrity, CASE CLOSED! All they do is sell out, and that is a prerogitive they have to live with.

Hey, Daren is still a musician, and I won't take that away from him. He has a past, and I'll let him deal with that. But he signed a contract in blood for a few extra bucks, and for a statement on his CD insert. That's shameful! And it is certainly no way to live life. If he has what some people call "religion", good for him. I have my relationship with Christ, and I won't EVER sell out simply for a free meal. I've forgiven Daren Diolosa, but will I ever chance him or his band again? GET REAL!!!

WOW! This IS industrial MUSIC!! WHY o WHY is this on a christian label?? Why are christians listening to it? These guys should be exalted along with Ministry(a mind is a terrible thing to taste) or NIN(downward spiral & broken). It is powerfull music that makes me want to go out and smash the world! And keep on smashing untill nothing is left to even whimper!! Just listen to FALL. This is an adrenaline junkies crack. 'Nuf Sed.

I discovered MBM after hearing his/their track "Prime Audio Soup" used in "The Matrix." At the time I had the idea of a sort of techno/rave group, and had certain expectations. As one might predict, those were totally swept aside when I heard "Subliminal Sandwich" for the first time. Exploring a new avenue of music, I found it hard to love this collection at first. However, two years later, I gave it another listen and decided differently.
Perhaps my two favorite tracks are "Future Worlds" and "Asbestos Lead Asbestos." The former, a sort of electronica-jazz-fusion cocktail, is nothing less than a fun and groovy listen, with an odd little sample line- "we can design future worlds." Its approach is ominous, with a bassoon bobbing in with a low note before the rhythm begins, but the most enjoyable element is the laid-back guitar soloing.
"Asbestos Lead Asbestos" is not openly hostile, but somewhat sarcastic and cynical in its lyrical message. Dangers offers an opinion of the classes, and it's not terribly nice to the rich. "Equal opportunity, except if our pedigree dogs don't like the smell of your children..." At least I think that's what he says; it's hard to tell, because his pronounciation is very odd. Whatever the case may be, it's obvious that while he's not promoting anarchism, he definitely doesn't like the general shape of society that he sees. The whole song has a very nice tap to it, again more like music played on instruments than arranged on a Mac. This is common throughout most of the album.
Until you get to CD 2, that is. While there are several songs here that fit into the performed category, a good portion of the disc is made up of gradual progressions of sound and melody. "Electric People," for example, makes me think of... well, I don't exactly know, but it's definitely more techno than most of CD 1. It's not hard to see, after you listen to this ensemble, why the experts can't quite figure out just exactly in which genre Jack Dangers fits.
I honestly don't know the industry well enough to say whether this album is influential or not, but I can say that for anyone who is imaginative and enjoys experimental music of any kind, this is something worth checking out.

I remember back in '96 I saw this CD in a Columbia House catalog and decided to give it a try. I liked the name, what can I say. I bought it, listened to it a few spins, decided I liked it, but that was that. Fast forward a few years, when in high school art class I throw this in my discman and finally start realizing what's going on. This is a lot... murky bass, ephemeral sounds just drifting in the background. Some subterranean hip hop, dub/jungle/toasting cut ups (which would be fully realized during the In Dub CD), organic rusty sounds everywhere. And this is just the first CD. Basically, a culmination of their rougher, earlier sound with the grooves of Satyricon. Top notch.
Then you get to CD two. The night to CD1's day. I can't sum this stuff into words. It's what techno music should have become. It's vicious, entrancing, LONG, rough. Analog squelches and bass are the order here. There's so many moments to choose from here. The spacious, deep space groove of "Mad Bomber/The Woods". The crushing, slow building "The Utterer", the trip hop freakouts of "United Nations, Etc" and "Plexus", and the multiple buildup/breakdowns of "Electric People". I mean, it took me forever to notice the grungy sound that carries the song around 4 minutes in is actually a distorted clarinet solo. It's just filled with little things like that. It's really one of the few electronic CDs around which betray it's electronic roots to come across feeling completely natural. More than a sum of it's parts.
As you can tell, I like CD two the best, but both CDs are completely f***ing awesome. It all depends on your tastes. But, it's a damn good buy and one of the most original CDs I've ever heard.

After 19 years of existence, I have finally decided that my favorite album is "The Best of Roy Orbinson" by Roy Orbinson.Ha!
No seriously, it is Meat Beat Manifesto's acid drenched "Subliminal Sandwich". This CD would've really worked well with the title "Prime Audio Soup", for that is the only way I can describe this CD (well not so much Disc1, but definitly Disc2)
Disc one is absolutly jam packed with 18 songs,every one carving it's own niche in the CD, and not a single one is boring. Each song retains MBM's signature sound, while representing a different side of it. So many subgenres are represented on this album that it is downright daunting to analyze and describe what they all are. Just listen to the samples and you will know what I'm saying. Simply fantastic, absorbing, and oddly emotional.

Somehow, by some weird act of fate, Disc Two absolutly trumps Disc One, and with only 10 songs. This CD is why I'm writting this review in the first place. Each song has an extreme volume of euphoric sound pulsing in-and-out of earshot. How Mr. Dangers
managed to make real audio soup I will never know. I'm just glad that he did in the first place.
To all you pyschonaughts out there (and you know who you are), this CD will suck you into worlds otherwise inconceivable for the sober mind. It sounds like an acid trip, as in how you would hear normal music on acid, without the acid (Get it?Got It?Good!). On acid (or you're
hallucinogen of choice) this CD is utterly absorbing all of the way through, but espescially so on tracks 7 through 10. All in all great while sober (both Cds), but unbelievably fantastic while tripping. Buy it now, so that the CD will not disapeer due to low sales. This masterwork must be preserved.

I can understand why so many people have come to like this band, it's easy to. They're a perfect mix of pop, goth, and metal, and quite catchy. I bought this never having heard one song, and now love it. I will say I decided to buy based on the two covers. Both are excellent, and I think HIM was born to cover "Wicked Game", musically and lyrically. This singers voice is a great match on all these tracks. Other stand-outs to me are "Your Sweet Six Six Six", "Our Diabolical Rapture", and "When Love And Death Emrace". All have a good hook. Regardless of your taste, minus country, you'll most likely love "Greatest Love Songs 666".

This is a nice blend of hard music without going going "overboard". It combines goth metal elements with pure rock. What makes this my favorite HIM album is because I feel that Ville's haunting voice was made for this dark style of music, it's unfortunate that they've since turned into wusses. The highlight of this album is the remake of the memorable Chris Isaak song, "Wicked Game", HIM's whole new edgy take on this song makes it seem as if that song was made for them. Overall, this is a great album for listeners of goth metal.

Him lps are inconsistant. But this one is probably their second best. "The Heartless" and "It's All Tears" are worth the price of the cd alone. Buy it.

I actually found this recording used and picked it up just because i thought the cover was so weird. After listening to it for years and years, this album has reached my top 20 albums of all time, across any genre. I love all kinds of music, and if i had to pick one industrial album to represent the genre, it would be this one. There is one song on this album that is hard to get into, I believe it is called victim of a criminal. The guitars provide a deep rhythmic feel to this music, and make it feel more complete and lush than many of their other recordings. People either love or hate this album, and I think it is just amazing. It is super hardcore, but also retains a great listenability, and shows off great songwriting ability. I can't say enough good things about this album.

I MUST SAY THAT I HAVE BEEN QUITE IMPRESSED WITH THIS BAND, PURE GENIUS. I FELL IN LOVE WHEN TRENT REZNOR DROPPED HIS DOWNWARD SPIRAL AND EVER SINCE THEN ITS BEEN THE BEST. THIS PARTICULAR ALBUM HAS SO MANY GREAT SONGS INCLUDING, "SEARCH AND DESTROY, AND PLASMA SPRINGS." MY CRIMINAL JUSTICE BACKGROUND MAKES ME FURTHER UNDERSTAND THAT FLA'S LYRICS ARE OUT OF CONTROL, QUITE PURE EVIL BLISS.

Front Line Assembly is the brainchild of two great musically minded men, Bill Leeb & Rhys Fulber. They have had a busy decade with this entity and their other great project Delerium, and their many side projects from the Vancouver studios. 'Millenium' is the latest album release from 1994 I have listened too and have been progressively purchasing all of FLA's albums. To date this is the best CD from them I have encountered.

In this album of 10 tracks, the old sounds of FLA have merged together and mixed with more metallic sounds with the bass guitars and robotic harsh vocals sung by Leeb. This makes for one very entertaining and a absolute friendly listening experience. Just like Delerium had evolved sound and lyrical wise, I feel that FLA is on a path of self-evolution for over time nothing can stay the same way.

The best songs on this album were 'Vigilante'which took some lyrical excerpts from horror movies, 'Millenium' which introduced the heavy guitar sound into FLA and 'Victim Of A Criminal' which just mixed all the sounds into one well mixed beat.

I actually found this recording used and picked it up just because i thought the cover was so weird. After listening to it for years and years, this album has reached my top 20 albums of all time, across any genre. I love all kinds of music, and if i had to pick one industrial album to represent the genre, it would be this one. There is one song on this album that is hard to get into, I believe it is called victim of a criminal. The guitars provide a deep rhythmic feel to this music, and make it feel more complete and lush than many of their other recordings. People either love or hate this album, and I think it is just amazing. It is super hardcore, but also retains a great listenability, and shows off great songwriting ability. I can't say enough good things about this album.

I MUST SAY THAT I HAVE BEEN QUITE IMPRESSED WITH THIS BAND, PURE GENIUS. I FELL IN LOVE WHEN TRENT REZNOR DROPPED HIS DOWNWARD SPIRAL AND EVER SINCE THEN ITS BEEN THE BEST. THIS PARTICULAR ALBUM HAS SO MANY GREAT SONGS INCLUDING, "SEARCH AND DESTROY, AND PLASMA SPRINGS." MY CRIMINAL JUSTICE BACKGROUND MAKES ME FURTHER UNDERSTAND THAT FLA'S LYRICS ARE OUT OF CONTROL, QUITE PURE EVIL BLISS.

Front Line Assembly is the brainchild of two great musically minded men, Bill Leeb & Rhys Fulber. They have had a busy decade with this entity and their other great project Delerium, and their many side projects from the Vancouver studios. 'Millenium' is the latest album release from 1994 I have listened too and have been progressively purchasing all of FLA's albums. To date this is the best CD from them I have encountered.

In this album of 10 tracks, the old sounds of FLA have merged together and mixed with more metallic sounds with the bass guitars and robotic harsh vocals sung by Leeb. This makes for one very entertaining and a absolute friendly listening experience. Just like Delerium had evolved sound and lyrical wise, I feel that FLA is on a path of self-evolution for over time nothing can stay the same way.

The best songs on this album were 'Vigilante'which took some lyrical excerpts from horror movies, 'Millenium' which introduced the heavy guitar sound into FLA and 'Victim Of A Criminal' which just mixed all the sounds into one well mixed beat.

This was Prick's first of just two releases,as I barely remember hearing about how this band was support act for the Nine Inch Nail's 'Downward Spiral' second leg of the U.S. tour.Prick was,basically one member-guitarist,vocalist&songwriter Kevin McMahon.Nothing to get too thrilled about,it's so-so industrial metal.A couple of the disc's decent cuts are "No Fair Fights","I Got It Bad" and "I Apologise".Just MIGHT appeal to some fans of God Lives Underwater,Gravity Kills and Stabbing Westward.

Ok...I am old school and bought this album when it was FRESH...dude it was on TAPE!!! This album always scored points with those who knew less...but NIN fans and fans of what industrial became because of TrentReznor enjoy --- and pop will eat itself and Glu...and all the rest that followed...an obscure jem.

I have not listened to anything people consider "industrial" since high school. while this album certainly has a heavy sound to it, it is much more of an indispensable pop/rock album than anything simply industrial. the composition of the songs and vocals make it something really unique and special. I've had the album for years and it never seems to leave my cd player for long. I would highly recommend this to anyone interested in something different from mainstream.
crippled by a lack of air time, prick seemed to disappear until 02' when a follow up was released exclusively on luckypierremusic com. the follow up, the wreakard, has some great songs on it but is also hindered by a couple that get so rough the melodies are lost. Kevins other band, lucky pierre, also has an album for sale on the site. it is a virtually flawless pop rock album that one can't help but wonder if it was released in Pricks place perhaps things would have turned out differently. I can't recommend any of his albums highly enough. Lets hope there's more on the way.

I was first introduced to these guys in 97 or so when I was watching the movie based on a Dean Koontz book called "Hideaway" starring Alicia Silverstone and Jeff Goldbloom. There was a song on there that seemed to mix dance, techno, metal, and rock all in one. The song was Godlike/Doglike...from there I was hooked. If you like Anything with a great beat and driving guitars then I suggest you get this album. It's missing songs on it that I would have preferred to see like "Lust" "Bargled" and "Beast" but you can always check into those later. Overall a great compilation of a band that was jamming out industrial metal trance (or whatever you call this kind of music) about the same time NIN and Ministry hit the mainstream.

The cover is spectacular as it has 9 of their studio released related to the songs found within on the cover. As you can see, their covers are usually done by the same artist, in 2 color tones and have some sort of 1930's comic book Scare on them...well just look at the covers to know what I'm talking about. Often it takes album art from the outset to show a new listener that a band stands out from the crowd, and this is one of those bands!

POWER, JUKE JOINT JEZEBEL, MORE AND FASTER, and many more are truly powerful songs that will take you on a journey. Leave the mainstream for a while, and jump into the world of KMFDM!


1. Power
2. Juke Joint Jezebel
3. Brute
4. Drug Against War
5. Light
6. Money
7. Vogue
8. Godlike-Doglike
9. Virus-Pestilence
10. Liebeslied-Leibesleid
11. More and Faster
12. Rip the System!
13. What Do You Know, Deutschland?
14. Don't Blow Your Top

This is perfect for people who want an introduction to KMFDM. I think that's what it was intended as, and I couldn't agree with the idea behind it better.

You don't have all the best tracks, but you have a sampling of some of the really good stuff ---->"Juke Joint Jezebel" and they don't have the really hard stuff on here either, so you don't scare newbies away with that.

I think this is a perfect introduction to this exciting band. If you're new to the genre, this is a place to start. Buy this album and see if you like it.

if you love kmfdm like I do, this is a must have, it has all the great songs from many of their albums, I'd use this one in my car rather than have all my kmfdm cds piled up in the glove box or in the back seat getting wrecked.

But there's a lot here that puts the album in a wildly uneven album. And it takes a very concerted effort to listen to it the whole way through. I would probably give it 4 stars on another day but I can't lie on an album like this as it is a real patience tester. The title track is one of the most annoying songs on it. Based around a cigarette. Some may call it art, I call it an excuse for Blixa to light up a smoke for a track. But then this is one of those arty deals. Art divides as many people as it embraces so it's just a question whether they like it or not.

So I'll leave it to you the listener, to form your opinion because no review here will ever really give you a great incentive to buy or listen to the album - only you can do that!

This album is the most laid-back Einsturzende Neubauten album I've ever heard. Every single song on this album is fire, the lyrics are perfect, and the music is crazy! The only problem is that I got this on vinyl and it has another track "Missed Calls" as opposed to "Total Eclipse of the Sun."

This cd is generally more hard-hitting than the cd before it, Ende Neu, without sacrificing the beautiful minimalistic virtuosity of their musical instrumentation. This cd sounds as intellectual as the Neubauten members are. This cd is big ideas. It's fun. I get lose in the pulsing pounding of Redukt. In Die Befindlichkeit des Landes (the lay of the land), the way the rhythm grows & completes itself is amazing. In Beauty, the monologue is interesting, & the ambient wavering electronics are great. I saw themplay in Boston on their tour for this. I think it was during Zampano that Blixa was gyrating. There are,of course, also a few songs that have the romantic minimalism they do so well. In one of them, the title track, there's a long silence. In another, the first song on the cd, there's a reference to Russian avant-garde artist Kazimir Malevich who was a great great greart pioneer of minimalistic, abstract geometric painting. The last song, Total Eclipse of the Sun, you could play for your grandmother without distressing her.

i met a couple at a 'yes' concert - they gave me an ozric tentacles disc (pungent effulgent) - these humans were surprised that i was unfamiliar with the ozrics - since i am such an avid 'yesfan' - - knocked-over as i was after hearing 'pungent' - that decided to try waterfall cities - this is quite amazing music - its sound is fluid and yet solid at the same time - very very impressive - it should be played at maximal volume - which implies raw power - yet it has such delicate moments of beauty that it is astonishing - - if you've come to this page - you're probably already familiar with this music - so i'll not convince you to buy this - either you will or you wont - - but *if* you really did just stumble here to this page - and are unfamiliar with this group (as i was) - buy this disc - it is not 'progressive rock' really - i have no idea how you would catagorize this music - it is truly unbelievable - it defies description
"add to shopping cart - proceed to checkout" and play it very very loud
space puppy - out

i met a couple at a 'yes' concert - they gave me an ozric tentacles disc (pungent effulgent) - these humans were surprised that i was unfamiliar with the ozrics - since i am such an avid 'yesfan' - - knocked-over as i was after hearing 'pungent' - that decided to try waterfall cities - this is quite amazing music - its sound is fluid and yet solid at the same time - very very impressive - it should be played at maximal volume - which implies raw power - yet it has such delicate moments of beauty that it is astonishing - - if you've come to this page - you're probably already familiar with this music - so i'll not convince you to buy this - either you will or you wont - - but *if* you really did just stumble here to this page - and are unfamiliar with this group (as i was) - buy this disc - it is not 'progressive rock' really - i have no idea how you would catagorize this music - it is truly unbelievable - it defies description
"add to shopping cart - proceed to checkout" and play it very very loud
space puppy - out

I've seen Ozrics several times and have most of their CDs. For some reason, Ozrics has always created polished studio efforts, starting with the classics Erpland, Strangitude and Jurassic Shift, going through the underrated Become the Other & Swirly Termination, and ending with Hidden Step. However, for me, the CD that holds up the best over time and continues to grow in depth is the fabulous Waterfall Cities. On this disc, the 2nd Ozrics lineup achieved their greatest focus and consistency, and produced a space-rock masterpiece.

The title track, in my view, contains one of the five or six finest recorded guitar solos in the entire decade of the 90's. Here, Ed Gwynn channels Jeff Beck into a powerful, multi-phased statement of true virtuosity. Building in ferocity as the extended solo passage progresses, and yet avoiding the technical excesses of the Malmsteen/Vai/Satriani school, Gwynn builds the theme of the composition and finally erupts into a scorching single-string line that circles around the key of the passage and brings it home in flawless fashion, followed by a keyboard jam passage of stunning beauty that takes the song in a completely different direction. Satriani only WISHES he could build compositions like this. Exciting and inspirational.

After opening with a passage resembling chamber music from Mars in Ch'ai?, Gwynn also contributes another scorching solo which is built upon an incredibly solid rhythm section backdrop - another specialty from this particular Ozrics lineup. The whole disc is like this. Without going into detail about every track, the entire CD breathes of integrity and concentration. This is a flawless effort from a band that really deserved a lot more exposure than they have ever received.

The cover of this album is an underwater statue of Christ that is located just off the coast of Key Largo, Florida right near the largest piece of coral in the whole reef (a massive brain coral). I went snorkeling there about 10 years ago and I never thought I'd see this thing again. But alas, I go to the record store and bam, there it is.

I really dig the GLU sound. They basically make industrial music fun again, after KMFDM started getting a bit too serious. The vocals are way too pretty to scare or intimidate anyone. It's not about that. Its about creating really good sounds.

I prefer their 3rd album to this (their 2nd), since it is more vocal and electronic-oriented and I feel they do that better, but if you want to hear some hard guitars, then this-is-your-GLU-album. It is very much like the first, only better, longer, and with a cooler cover.

Oh, and if you're ever swimming near the statue, watch out where you touch it, because it's got some fire coral on it.

God Lives Underwater broke through with their hit "No More Love" from their self-titled ep, but now we have the first full-length, EMPTY. From beginning to end, there are plenty of great moments during the album. And while this broke them into the mainstream, they didn't sell out at all. EMPTY is full of great music, and one pop into your steroes and you'll hear it.

"All Wrong" is probably the best known song, since it received heavy radio play, and with good reason. With it's raunchy guitars and pulsing beats, lines like "here i am/my anger and me" comes across full steam. It's a sweeping song, and one of the best tracks on the album. "Still" also rocks with its prime guitars, lifting the album off to a great start. "Fool" has such a angst-y feel to it, with David Reilly's vocals coming off suggesting adrenaline.

Elsewhere, there's some real depth to songs like the absolutely thrilling "No More Love" which has a great beat and airy guitars with pulsing keys. "23" is the strongest tune suggesting sad emotion with such grace it will pull you to shed a tear. The title track is also full of emotion, and is a terrific track with buzzing thick guitar noise and keyboards sprinkled in for good measure. It even has a gripping chorus. "Scared" comes across ending the album on a note of question, dreamy vocals, acoustic guitars, and a noisy moment blasting through the quiet. Even the hypnotic "Tortoise" pulls through the stops.

EMPTY is a great blend alternative rock and techno creating a hybrid that works. Many bands have tried to create an album with a hybrid of techno and alternative rock. Some have not been successful, but others have triumphed. God Lives Underwater is one of those groups. EMPTY is an album full of hope, angst, and music you can definitely find lots of appeal within.

God Lives Underwater is living proof that many of the most talented musicians in the music industry go unheard of for long periods of time before any mainstream following develops, sometimes these artists go their entire career without being fully discovered by the audience they deserve. Just goes to show how often people choose garbage over real music nowadays.

From the opening synthesized guitar line of "Still" all the way through to the very end of "Scared", "Empty" does not let up, combining alternative and heavy progressive rock with some of the weirdest, most trippy sound effects and progression from modern electronica/techno. The only way to really explain God Lives Underwater is just the fact that there is really no other band like them, their closest similarities being Stabbing Westward and Nine Inch Nails. However, the most impressive quality of this group is that it is composed only of two members, who ideally do a better job than the 5 man bands spitting pure waste onto records and calling it music these days.

Suiting both the electronica as well as the hard rock fan, most of the songs weigh more heavily towards one genre for the instrumental portion, but every track conveys painful, heartaching lyrics and contains catchy, energy-filled choruses. Songs such as "All Wrong" with its progressive blues-scale guitar line, "No More Love", "Fool", and the aggressive "Don't Know How To Be" rely more on nicely timed drumming and distorted electric guitars to keep the music flowing nicely, making this some of the best hard rock for awhile, while other tracks such as "Weaken", "Tortoise", and "Empty" base their sounds more on synthesizers and keyboard lines, showing off their techno influences.

The only tracks where the band slows down from their aggressive, energy-filled performance are in "23", a captivating song about loneliness and searching for answers in life, making it one of the best songs on the album. "Scared" is the most mellow song on the record, and unfortunately also the weakest, but it still maintains quality by throwing in the adversity of acoustic guitars.

Standout tracks are "All Wrong", with its catchy guitar line, "No More Love" as it blends guitar with keyboard into a virtual frenzy, "23" showing the groups soft side, "Weaken" giving bright techno influence, and "Empty" with its chorus.

This album definitely got more mainstream attention than their later release, "Life In The So-Called Space Age" (also a great album) due to the catchy choruses and guitars, both of which were lost on the very non-radio friendly "Spage Age" record.

Fans of electronic music and rock alike can rejoice with this band. "Empty" and the self titled EP both have the same feel to them, but the newer "Life In The So-Called Space Age" takes the music to a different angle. I would only recommend "Space Age" to the fan of Radiohead and like-minded music, but "Empty" has a friendly catchiness that most fans of hard music can appreciate.