Industrial music reviews

The UK variant of "Head Like a Hole", unlike its American counterpart, is rather brief-- three mixes, two of "Head Like a Hole", one of "Terrible Lie", all mixed by Trent Reznor and Flood. There is one new track not on the American single, the opal mix, with the other two available on the US release.

The two "Head Like a Hole" mixes are fairly interesting-- the slate mix (available on the US single) is pretty straight from the original, largely changed in that the guitar on the chorus is opened up a bit and a percussive bridge (and its also probably the strongest of the US mixes). The opal mix is pretty interesting, with the song restructured (the bridge is less frequent) and with some new vocals rather than using the album vocal tracks and a completely different backing track-- it sounds entirely programmed. Its been suggested that this is a demo, that wouldn't surprise me. The included "Terrible Lie" mix is nearly identical to the album mix, excepting a brief reprise at the end of some earlier lyrics and is largely superfluous.

Overall, this is not a great value, given the depth of the US release, but the opal mix is intriguing and probably worth the investment for fans.

This single is really good, but the remixes kind of make you sick of head of a hole, it has some remixes of Terrible Lie, and Down in it too.

this is a review of two different discs actually, because on the rare occasion that the second one is available on amazon, it's listed under the first one. But it's important to recognize that these two discs are different in packaging, and differ by the first two tracks out of the three tracks on each disc.

1. UK Import. This is a pretty descent single from NIN during the Pretty Hate Machine era. The domestic version runs a bit too long with very repetative material, and serves as a Pretty Hate Machine remix album more than a single. This is the single as Reznor envisioned it before TVT pushed him around. It's pretty good. the first track is listed as the 'slate' remix, but that is a misprint, it is actually the 'clay' remix, which is the version of the song seen in the video. Not very different from the album version except the bridge is at the begining. if you like the song, this is the version you've probably heard a lot of. The next track is the 'copper' mix. This is a very lively stucato reworking. It's one of the best mixes, and is actually based very closely on the ACTUAL 'slate' remix that does not appear here. the last track is the 'opal' remix. The most different mix from the original and often viewed as the best. It's partially concocted from new vocals and samples from a few Prince songs. It's good stuff.

-tracks 1 and 2 available on domestic release
-This release comes in a slimline jewelcase, the NIN symbol is yellow on pink.
-disc is yellow text on pinkish purple disc.

2. Australia Import. This is probably the best version of the single as far as music goes. it's also somewhat of a rarity now. it's one of three singles NIN has released in Australia in a card sleeve packaging. Head Like A Hole, March Of The Pigs, and Into The Void. MOTP is the rarest, ITV is the most sought after (and unbelieveably expensive) and Head Like A Hole is the least rare, but still sometimes difficult to catch. It is worth it, especially for a collector. The first track is correctly the 'slate' remix, which is the best remix of that song that exists on the domestic version. the next track is a remix of Terrible Lie, the 'sympathetic' mix, also the best remix of that song on the domestic release, and the third track is once again the 'opal' mix that is not on the domestic version. This is the best version of the single because it has the best mix of music, the best remixes of HLAH, split up with the best remix of Terrible Lie, making it more interesting than either of the other versions of this single. The only drawback is if you happen to dislike the easily damaged card sleeve packaging. I happen to think it's unique and cool (the colors are slightly more vibrant than the UK version)but some people prefer protected jewelcase packaging.

-tracks 1 and 2 available on domestic release
-this release comes in a cardboard sleeve, the NIN symbol is yellow on purple
-disc is yellow text on blue disc

I own 21 discs from Project Pitchfork, including all their albums. This album is a bit different than the last one, Daimonion. The first thing I noticed is that 3 of the songs had German lyrics, which is quite a departure from past PP albums on which only 2 albums (Alpha Omega and Eon:Eon) had one German-lyric song each. This lends a bit more variety to the album, but cannot make up for one glaring fact in this album: the lead singer, Peter Spilles, does not use his trademark vocal abilities on this album much and overall his lyrics sound a bit monotonous compared to previous albums. Although this album flows better and is more consistent than Daimonion, it just seems kind of boring in comparison. If anything, this album is more accessible than previous albums and may introduce more people to Project Pitchfork. The two EP's released in the NUN trilogy with Inferno, View From a Throne and Trialog, are a bit better and you wouldn't miss much by skipping this album and getting those two EPs instead.

I dont care what anyone says, this album is excellent. I listen you metal/punk/rock and industrial but I love stuff like this. Songs like Momentum and Souls in Ice show how they hit all the broad sides of the spectrum. This cd flows together as a whole nicely. I recommend their 245 minute dvd. Just an excellent, mysterious, melodic band. En Garde!

Everything these people have made has been so all encompasing and meaningfull. I don't even think of them as industrial, they are a class of their own. Each album seems to show more and more hope. As I travel up their discography, the almbums elict more positive feelings in me. Inferno is the Apitome of musical mastery. It's an anthem, lesson, mind expanding metaphysical journey, and a self reinsuring piece of work all in one. I can't help but to tear when I hear Awakening. Wonderful.

I was disappointed by Io. Compared to Eon:Eon and Alpha Omega, which i had heard and loved first, this is a disc with a differnt sort of music. The songs are impressive, but seem to have the unpolished and random feel to them. Despite this lack of a cohesive sound, Renascence is perhaps the song with the most touching and earth-shattering power of any in the P.P. library. I don't care what you listen to, you'll love the sound and especially the lyrics to this song. it is for this reason only that i purshased this disc, and while not as good as it could have been, i still enjoy listening to the disc.

I think that Project Pitchfork is so diverse because it evokes an immense feeling of 'shock and awe' when you first hear it. There is truly nothing else in existence that can be compared to, or sounding like it.

There really is no specific genre that this music can truly fit into; as it has so many stark contrasts present in each song. A mesmerizingly freakish and at times almost sinister hybrid of shimmering Synth-Pop beats and grungy headbanger/mosh-like vocals and sounds. Think " Depeche Mode meets Korn" with the occasional dallop of industrial gothic, trance, and even techno. All of this blends into one trippy, futuristic alien concoction that is sure to leave your N'Sync worshipping, alternative radio- listening friends wondering whether you yourself, have landed from another planet.

Originality aside, this alien can pack a viscious bite, but is thoughtful and harmless beneath the surface. The albums lyrics all carry a dreamy, futuristic and/or celestial message, which diminishes this album's gothic appeal( try Alpha Omega instead ). I consider the whole futurist idea to be quite ironic because while the sound that Project Pitchfork brings us is relatively new and unknown, I predict it to be prett groundbreaking and influencial in the future. Within the next 10-15 years, I predict that this type of music will have 'landed' in the new pop/alternative forefront of our musical culture and society. And who knows what else may arrive with it in the future.

As for today, give this album a try if you're brave enough to try something radically different. Though it's not the band's very best as a whole, it does offer some of the bands most beautifully unique and intriguing songs( lO; the perfect opener to the album that sets the stage for what's in store next. The Seeker; with it's trippy vocals that progress into a harder sound, and Renascence; An unassuming poppy gothic-sounding song that is sure to intrigue you ) and the whole outer space theme works so well throughout. Give this cd a try along with Alpha Omega and Eon:Eon and after the second or third listen, when the shock and unfamiliarity with the band subsides, you may just find it to be so delisciously different and sinfully enjoyable, that once converted, you may never be the same again.

I'm a very jaded music fan, and even more jaded in the industrial genre. I'm very impressed with IO. This CD is great! Get it. It's not as manic as I like, so it's not great for dancing...but it's a great CD to groove to. Put it on and read a book, paint a picture, or have some great (...)!

I was disappointed by Io. Compared to Eon:Eon and Alpha Omega, which i had heard and loved first, this is a disc with a differnt sort of music. The songs are impressive, but seem to have the unpolished and random feel to them. Despite this lack of a cohesive sound, Renascence is perhaps the song with the most touching and earth-shattering power of any in the P.P. library. I don't care what you listen to, you'll love the sound and especially the lyrics to this song. it is for this reason only that i purshased this disc, and while not as good as it could have been, i still enjoy listening to the disc.

I think that Project Pitchfork is so diverse because it evokes an immense feeling of 'shock and awe' when you first hear it. There is truly nothing else in existence that can be compared to, or sounding like it.

There really is no specific genre that this music can truly fit into; as it has so many stark contrasts present in each song. A mesmerizingly freakish and at times almost sinister hybrid of shimmering Synth-Pop beats and grungy headbanger/mosh-like vocals and sounds. Think " Depeche Mode meets Korn" with the occasional dallop of industrial gothic, trance, and even techno. All of this blends into one trippy, futuristic alien concoction that is sure to leave your N'Sync worshipping, alternative radio- listening friends wondering whether you yourself, have landed from another planet.

Originality aside, this alien can pack a viscious bite, but is thoughtful and harmless beneath the surface. The albums lyrics all carry a dreamy, futuristic and/or celestial message, which diminishes this album's gothic appeal( try Alpha Omega instead ). I consider the whole futurist idea to be quite ironic because while the sound that Project Pitchfork brings us is relatively new and unknown, I predict it to be prett groundbreaking and influencial in the future. Within the next 10-15 years, I predict that this type of music will have 'landed' in the new pop/alternative forefront of our musical culture and society. And who knows what else may arrive with it in the future.

As for today, give this album a try if you're brave enough to try something radically different. Though it's not the band's very best as a whole, it does offer some of the bands most beautifully unique and intriguing songs( lO; the perfect opener to the album that sets the stage for what's in store next. The Seeker; with it's trippy vocals that progress into a harder sound, and Renascence; An unassuming poppy gothic-sounding song that is sure to intrigue you ) and the whole outer space theme works so well throughout. Give this cd a try along with Alpha Omega and Eon:Eon and after the second or third listen, when the shock and unfamiliarity with the band subsides, you may just find it to be so delisciously different and sinfully enjoyable, that once converted, you may never be the same again.

I'm a very jaded music fan, and even more jaded in the industrial genre. I'm very impressed with IO. This CD is great! Get it. It's not as manic as I like, so it's not great for dancing...but it's a great CD to groove to. Put it on and read a book, paint a picture, or have some great (...)!

"Jesus Built My Hotrod" is one of those rare examples in rock where the song is just as good as the title. A fast and furious blend of industrial and speed metal, Al Jourgensen's single is loud, abrasive, and a whole lotta fun. We get the single edit and the 12-inch extended version. For best results, play this single at full blast while severely intoxicated.

A pure shot of adrenaline... With vocals so fuzzy and incoherent that they sound like they are sung over a cheap CB radio, this song is all 1960s NASCAR. It's all about speed; the raw unadulturated power of a V8 set to music. Listening to this song while behind the wheel is a transcendental experience. As the pounding "DadaDOOMP DadaDOOMP..." of the drums drive forward, the foot cannot resist the accelerator. Soon the engine, the dashed centerline of the highway, and the spedometer needle smacking against the maximum speed peg all come into sync with the music. The driver becomes immersed in the task of driving, attuned to every aspect of his engine, and then becomes one with his engine. Man is machine, and machine is man. Jesus Built my Hotrod.

This is the song, the version of this song, that got me through my last year in high school. I existed in typical teenage malaise and this was one of the few songs that cheered me up EVERY time I listened to it. You can't be grumbly before morning classes after listening to someone "ding-a-ding-dang my dang-a-long ling-long." Really.

This was the first Laibach album I found, and it's a good example of their catchier, less art-driven sound. Among "theme" albums, "Superstars" is pretty effective. Imagine Ministry performing Gary Numan's album "Pure" to entertain a heavily armed European militia, with Popeye on vocals.

"God Is God" is a strong goth-metal-industrial (whew!) anthem. The covers of "Jesus Christ Superstar" and Prince's "The Cross" are interesting. The real standouts are "Kingdom of God," "Message From The Black Star," and "To The New Light."

Lyrically, the album twists the natures of Jesus, Satan and Hell. By the end, it's hard to tell if the point is that God reigns supreme over Lucifer, or that Lucifer IS God, and Jesus was a pawn all along the way. Still, even when it's confusing it's danceable.

"To The New Light" is worthy of Swans as scary songs go. It's an atmosphere piece with a spine-chilling vibe. When The Bottomless Throat says, "Bruddah uv miiinnne," you better have the lights on in the room.

The back-up choir and orchestral touches flesh out the religious feel of the album. Laibach have a definite shared view on God's role in the world: (From their website) "We believe in God, but we do not necessarily trust him."

This is a good album for people who want to decide their spiritual allegiance by working it out on the dance floor.

I'll admit it, when I first listened to this band, I was really confused. I had no idea exactly -WHAT- to think. But there was one thing I knew for sure: I loved thier music. This album is really amazing. You're not really sure if they are for or against God, but I really love the lyrics because it seems to me like, even though they know God is all around good, why is there evil in this world and why is He letting this happen?

I think I like this one a lot because the album itself makes you think. I love it when songs make me think. This is a wonderful album and any fan of Laibach will like it as well. I think what I love most about thier music is thier harsh vocals combined with an orchestra, along with great metal beats, I love it. This is an album you should give your friends so you can turn them to Laibach, an album that plays well in your car, and if you're into art, something that will inspire you. My select favourite songs: God Is God, Jesus Christ Superstar, Abuse and Confession, Declaration of Freedom.

As Laibach said, they are not musicians, but rather politicians. Do you want to know how ideology works.... listen then to the album, or even better go to the Laibach concert and you will get the meaning of life, and even more... You will fell power, you will see the universe, you will see god... And if you resist and go to the end, you will be scarred...and dead. I frendly reccomend; listen to Laibach, leave yourselve to the feeling, dare it....

Remember that guy from the Maxell ad years ago? The one sitting in his easy chair listening to music who is now on every product they sell? Keep that image in mind.

I ran across Magnificat in the stacks back in 99. Knowing nothing about the group except that they had an interesting name I pulled it out to preview it. Listening on my headphones to the first track "Missa Pro Defunctis," I had to turn up the volume to hear it over the on air music. I was really getting into the ambient music thinking I had discovered a new Enigma. Then, a sudden crescendo into a loud explosion of a note nearly knocked me over.

Hence the reference to the Maxell man.

Five notes. Similar in impact and strength to the four notes that begin Beethoven's Fifth. Five notes like the steps of the Leviathan trodding a melody deep into the fabric of space and time. This is the primary musical theme of "Missa Pro Defunctis." Yet, it is so much more than that.

Magnificat is a splendid blend of medieval chants with modern industrial music. Imagine Enigma or Adiemus with a considerably harder edge. Other artists have attempted fusion of medieval and modern styles. Most though are a tenuous tennis match of the two styles. Industrial Monk goes all out in fusing the two styles is if they were meant to be together all along. Industrial Monk's alchemy plays with fire and ice, air and steel, masculine and feminine, human and machine.

Yo, check this out. Latin Rap. Yes, you read that correctly. Rap in Latin. And you though Latin was a dead language. Not so on "Requiem," Magnificat's second track.. Our rap master belts it out backed by a funk bass groove between choruses of chants and electric guitars. The rap style works very nicely in the structured mechanics of the Latin language.

"Puer Natus Est" is the emotional high of the album. The vocals and techno are mixed perfectly here. Male and female soloists sing separate but equally beautiful arias, their voices swirling around each other. Percussion and synthesizer lend accompaniment, intensifying on the chorus: stirring choral stylings with the same emotional impact as Carl Orff's "Carmina Burana." An achingly beautiful and intense song.

The title track, "Magnificat," uses the same instrumentation and singers as "Puer Natus Est" but is more subdued and contemplative. The Latin Rapper returns midway through with a suave extended rap. This song lingers a bit too long in the last half, but redeems itself in the last two minutes as the drums very gradual fade while pastoral strings swell into the foreground in turn fading into the distance. Nice ending.

Turning to a more hard rock sound is "Audi Dulcis Amica Mea." The chants are still here but not quite as prominent. Guitars are stronger as are the keyboards. Still a good song.

On the sixth track, "Jeremiah," the group creates an early 70's progressive rock style song, complete with Hammond organ. Still spirited and hard hitting, but listener fatigue is setting in as aside from the last two minutes of Magnificat, the pace has not slackened at all.

By the final track, "Kyrie," it seems that Industrial Monk has run out of ideas. They decide to end the album with a flurry of drums and guitars, as though sheer intensity can carry the day. There is very little of the choir in this track, which is mostly straight industrial, and average industrial at that. Sad to see an album that started with such promise end on such an uninspired note.

Magnificat will be most appreciated by those who are familiar with and enjoy both techno and classical music. (There are a few of us out there) It's definitely worth a listen, and the first four tracks are very fresh and original. Whether you buy it for the music, or the message, you will greatly enjoy and appreciate it.

Industrial Monk's debut album begins with the swirling sounds of almost any electronica-based album, but descends gradually into an amazing blend of choral beauty and electronic strength. The unexpected marriage of the heavy, darkwave-esque synth lines and symphonic vocal arrangments presents an experience unlike anything you can find in most electronic music genres. Obviously rhythmically gifted, Industrial Monk transcends the lower levels of gothic lyric and replaces it with Latin verse, chant, and choirs. But nothing compares to actually listening, so stop reading my review and buy it already!! It is definitely worth your last dollar!!

This CD really surprised me. It takes the gregorian chant idea that Enigma popularized and takes it several steps further. The heavy percussion and bass keep things very lively, and yet the techno isn't monotonous. It's timed just right. Excellent.

I had only heard one song off Mindstrip, "Jesus Wept", and it utterly blew me away. I had to get the rest of the work. So I bought Mindstrip. *sigh*.

"Jesus Wept" was a near perfect, minimalist stomp-fest. But then came "Hellraiser". As good musically, but the lyrics made me want to retch. Stupid, overdone crap. Impressive maybe 10 years ago, but Coil first, and then a plethera of others have already done it. I hoped "Body Count Proceed" would redeem it. Sort of, but the one "when I rolled him over, the back of his head was crushed" sample is overused ad nauseum. The song was about two minutes too long for this kind of work. "Raise Your God" made up for it a killer sample and breathtaking synths, but such beatiful work did not hold up. "Mindstripper" is downright boring. A single of that would get 1 star. How did it get to be the title track?? It's slow, the lyrics are repetitive and stupid, the synth is opressively high pitched, and the snare loop is wayyy too prominent for something so simple and repetitive.
"Run" just gets worse. It proves that the middle of the album is just filler. Usual suspects, boring sample repeated ad nauseum, lyrics a monkey with a typewriter could produce, and no movement whatsoever. Then to reenforce the filler concept, Van Roy creates a lackluster remix, almost killing the original "Comatose Delusion" for me. "Blood in Face" is like "Run", but with an even worse sample, if that's possible. Okay, so he mixes it up a bit, but still...
Now, "Love Breeds Suicide" pulls the album out of this self destuctive filler loop. Creepy ?bells? and excellent layering make this song really sing. And "Slaves" makes for a good finisher. But in retrospect, "Mindstripper" is definitely not worth 17 dollars. Take out the filler, John, make it a single, and have some vocal variation, please.

But kudos for the few really good songs on it. When he gets it right, he really gets it right.

Suicide Commando songs are basically made of three things.

1. Brutal drum loops made of sheer noize that sound awful
2. Scathing, harsh vox with terrible to tolerable lyrics
3. Probably the best melodic synthlines ever written

Put it on a dancefloor and watch the goths dance. This stuff is so much fun I cannot understand why they dont have a top-40 hit by now... the synth writing is so catchy it is impossible to get out of your head, and the beats may be violent but you can dance to them! This stuff is basically Front 242 on Steroids (Front 242 sounding like Kraftwerk on Steroids) and is absolutely delightful.

People say that Trent Reznor is pop-Industrial. I find very little of his work to be catchy. NIN is Skinny Puppy samples with guitar feedback over the top. Suicide Commando is actually catchy in the sense of music. Johan is obviously a man that knows how to write music that no one can really hate. If you have just started and are scared of this CD being 'too harsh,' dont be frightened. Its so catchy you cant help but love it. Even the brutal "Raise Your God" is catchy. This album is a staple of Slimelight's dance floor for a reason.

I have to say that when I got my hands on this album I was pretty impressed. I had already been addicted to the song "Bodycound Proceed" off the Metropolis 2001 sampler disc, and all the songs on here are great. As another review mentioned, the minimalist approach taken to producing this CD really works in favor of its sound, although honestly some of the repeating samples get REALLY old by the end of the song. However, songs like "Bodycound Proceed" and "Raise Your God" make this disc an unbelievable bass thumper and adrenaline rush. I also agree that this is a great disc for fans of Velvet Acid Christ. The various samples on this disc taken from the Hellraiser movies are also interesting...

"This is my blood.. This is my body.. Happy are those who come to MY supper."

A happy camper indeed.

LAibach certainly have an interesting approach. The way that they turn vapid pop songs into pseudo-fascist marching music is quite striking. Queen's "One Voice" seems an excellent choice for such a treatment, as with original lyrics intact, the meaning becomes incredibly unnerving when performed in German with a driving precessional beat. If one is looking for political meaning, the bands message may seem a bit garbled. If one takes this as a comment on the reverence and allegiance shown by fans to their pop icons, however, the message is appropriately unnerving

I've been with Laibach since their early days on Wax Trax! Records. Few musical artists have successfully created a world of their own with their own self expressive manefesto, yet Laibach seems to have cultivated a "lifestyle" unto itself. Like haujobb or :Wumpscut: Laibach isn't for everybody; they exist in a parallel universe that is darker, richer, and considerably more ominous than what we expect from approachable EBM/IDM.

Has there ever been a more lovely and majestic paean as "The Great Seal?" Never before have I heard an anthem of such spacious grandeur. Truly a extraordinary moment in modern industrial music.

For those who prefer more serious minded theater-of-the-mind, "Opus Dei"(and "Slovenska Akropola") are the preeminent soundtracks for your cerebral hinterland.

This is the lone Laibach album I own at this point, but I plan to remedy that. This is quickly becoming one of my favorite albums in my collection. Laibach brings Melody to harsh Industrial in this album, making what I'd call Military Industrial. With the horns, the military-esque beats, and the deep German vocals, it turns out being a great listen to all Industrial lovers.

Sorry to tell ya readers out there, but I have more Christian Death paraphernalia than you. Sorry, I win. That said, the ONLY thing selling these CDs these days is the name. The content went to crap long ago. But to keep up my collection I have continued to purchase anything with the Christian Death moniker, Rozz Williams, Shadow Project, Premature Ejaculation, Pompeii 99... List goes on. But alas, I will never purchase another piece of Valors attempt at what he calls music.

[...]
Seriously, this is terrible stuff. Christian Death albums used to be works of art. This is hard rockin' crap extraordinaire, coupled with Valor's bad lyrics which are meant to be shocking, but which succeed only in revealing that Valor has bad taste (-- or to put it another way, he has no regard for good taste). Forget about art, go for the shock! Such is the way of Valor Kand in the new millineum.

Christian Death are long gone (dead) but occasionally Valor publishes a record with this name, sure to earn money from fund fans. He spent 10 years of his career climing the world should end in the month of july 1999, as declared by Nostradamus, but to promote this mediocre record (and to earn other money) he seemed to have forgotten it, touring long after this date. Anyway the music is not so bad, at least not bad as Prophecies or the following Born Again (a disaster...). The beginning song has its maximum in the fourth part (The Lie Behind the Truth) , where a dark hard rock starts after a church choir, creating a fascinating effect. The following tracks are more or less good, but FANTASTIC is the idea of covering Sex Dwarf by The Soft Cell! Then the album knows a moment of tiredness untill it falls in the swamps of the traditional slow-gothic Die with you. A little awakening with the following She Never Woke Up, the commercial hit of the album. So, with his highs and lows (the final The 9 Is a 6, sung by Yaal, a bad imitation of I Hate You justifying the survivance of the world to Nostradamus prophecy...bleah!) that's quite a good album, of honest hard and half-industrial gothic rock, to have only if you do not exige novelties and artistic inventions...