Industrial music reviews

This single (released May 14, 2001) is the second to come off of Rammstein's MUTTER album, and is particularly valuable for Rammstein fans because it includes a slightly-different version of a rare song entitled "Halleluja," which was only released on the Japanese edition and a limited 2 CD version of MUTTER. "Links 2 3 4" is another catchy song; as with Rammstein's previous single SONNE, they extracted one of the finer songs from MUTTER and, combined with the remixes, created an entity of its own. "Links 2 3 4" also has an ambiguous tone, yet Richard Kruspe-Bernstein, one of the guitarists and the songwriter for Rammstein, in an interview, stated that the song was written to curb foolish accusations that the band were supporters of Nazism; apparently their hearts sway more to the `left-wing' of the spectrum, hence the title of this song.

With this interpretation notwithstanding, the song is vivid, which is one of Rammstein's most defining and profound characteristics. The sound of marching can be heard in the background; a symbolic trait of this song, perhaps to portray the rhythm of their heartbeats (a word oft mentioned in the chorus) and to where they orderly turn. The song "Halleluja" is not quite as ambiguous, yet its imagery does not falter. This particular song is about derangement and religion, seen and experienced through the eyes of a pastor.

The tracklisting of this CD single is as follows:

(1) Links 2 3 4 (3:36)
(2) Halleluja (3:45)
(3) Links 2 3 4 (Clawfinger Geradeaus Remix) (4:28)
(4) Links 2 3 4 (Westbam Technoelectro Mix) (5:57)
(5) Links 2 3 4 (Westbam Hard Rock Caf� Bonus Mix) (3:43)

The three remixes of "Links 2 3 4" are pretty good: Clawfinger are practically on a par with Rammstein's music; their contributions and remixes of Rammstein's song turns it almost into an entirely different song. As for Westbam, which remixed the song twice (tracks 4 and 5), I don't feel that they quite match Clawfinger's caliber in remixing Rammstein's songs. Track 5, which is instrumental, is quite good, though Track 4 seems far too long, appears `stretched,' and its electrical enhancement of vocalist Till Lindemann's voice are very sore. These faults notwithstanding, LINKS 2 3 4 is a welcome addition to Rammstein's growing genius and uniqueness.

Well this is there second single of the new "mutter"(mother) album the d contains Links-2-3-4 and Hallaluja(h) and some links remixes the song (meaning left 2-3-4) is a political statement from the Berlin boys telling us exactly were there heart beats,Left.Contradicting claims they are right wing (e.g NAZI) this is a very fast tune and great lyrics one of the best songs off the new album a MUST buy for all Rammsteiners and even those who arn't. The bonus song Hallaluja(h) is also a great song which is a secret trach on the jappanese editon of Mutter.All in all a great songle buy.

I loved this single, it is the best single that I've heard so far and I plan to get the next one(Ich Will). This single starts out with the album version of Links then Halleluja then Links Clawfinger remix the Westbam Techno and Hardrock remixes. The whole thing nothing but tightness.:D

As much as I love Rudy and Wumpscut, have you ever noticed how much "On the Run" sounds like " Strap me Down" by Leatherstrip. I know Rudy has never denied how much Leatherstrip has influenced him but this song is so blatent :o)

Music for a Slaughtering Tribe is easily one of my top ten favorite albums, and hands down my favorite electronic body music based CD (I also tend to like ambient industrial and heavenly voices / ethereal music). I think it is fair to suggest that others might agree, as there was enough interest in the original release(s) of MFAST, that Rudy re-released the album with some additional material as MFAST 2. This new material on the 2-disc MFAST 2 makes it worth buying even if you already own an original MFAST release.

Personally I like the second disc a bit more, with its remixes from other personal favorite bands like Kirlian Camera (Italy), Haujobb (Germany), Aghast View (Brazil), and Dive (Belgium). Naturally each of the remixes on this disc is easily identified by the sound of the artist, thus if you are a fan of Daniel Meyer's (Haujobb) more techno flavored music, you'll really love his remix of Soylent Green. Similarly if you are into classic minimalist EBM, Dirk Iven's remix of "Float" will be a hit with you. On this disc, it is hard to point out a favorite track, but if I had to pick a single track, I'd go with the Aghast View "Default" remix. This track has been on all of my exercise / jogging set lists since I bought the album, and is my "safety request" when I go clubbing. The song is simply a blast to stomp, groove, and cause havoc to ... er I mean dance. In any event, I've noticed that a number of DJs tend to play these remixes as frequently as the tracks off the first disc.

The first disc is good too. If you liked the album Wreath of Barbs, Aleta W.'s lyrics on "Fear in Motion" will amaze you. I honestly think that this first disc is much more aggressive than the remixes. Track's like "Koslow" are what I imagine most fans think of when they try to describe what Wumpscut is about. Other tracks, like "Concrete Rage" I'd actually classify as power noise instead of EBM. The surprising track for me was "the Day's Disdain". I'm not sure why the track didn't make it on the original release, because it is amazing.

Perhaps the best way to describe MFAST2 would be to simply say the album is "Brutal, and Cruel, and Dark ... Dark ... Dark".

I finally got this album about a month ago, and I couldn't be happier. A friend gave me a CD-R with "Soylent Green" several years back and whetted my appetite for Wumpscut. After much research, I ordered this dark gem from Amazon. For those unfamilar with :W:, this is a perfect introduction to the band, I would say. A number of styles are utilized throughout, making for a diverse listening experience. The common sonic thread is dark synth meloldies coupled with intense, raspy vocals, backed by harsh, driving beats. Sort of a combination of mid-period Skinny Puppy and VNV Nation, an industrial/electrodance fusion, if you will. While more recent efforts have been relatively sedate and tame, the barely controlled rage seething throut MFAST is never caged or reined in. Instead, Rudy lets his fury free through a bracing assemblage of morose keys and crushing beats. Equally at home on the dance floor or the mosh pit, MFAST is a must-have for all aspiring rivethead and cybergoth types.

this isn't VAC best work, but it's still good.
the recording quality of the music isn't great, but the music itself is still impressive.

my favorite song on there was satan complex.

if you're a first time VAC buyer get fun with knives or TTG first, then get this one if you become a die hard fan.

I managed to get this brand new factory sealed on half.com which is very lucky of me considering this is out of print and you can usually only find it used if u can ever find it at all. anyway thought its a great cd, more like a best of their old stuff complilation. although i do prefer their newer work, everyone has to start somewhere.

i only have a copy of this on tape, and even if its out of print, this is one of my fav vac albums. its got harsh sounds, and loud guitars, and crazy synth sounds all over the place. most people do not like this one, but i luv that harsh tone to music, and this has it. if u can get your hands on this cd, do it.

'Odyssey of the Mind' maybe was the logical evolution of a band which had begun in the early 80's with a techno-industrial music with similarities with 'DAF' or later Nitzerr Ebb and which from 1991 would develop a kind of metal-industrial; with every album they added more guitars but also they worked the electronic parts better. An example of this is 'The Final Option', which is for me an example of good blending of metal and electronics and their best album ever. 'Odyssey of the Mind' does have some songs which are similar to those of their previous album: 'Metalmorphosis', 'Isolation'... but the album relies more on a metal basis which I let the fans of this type of music rate it; Engler's voice is usually much too typical (does he want to rival Pantera?) and his pose is much too stereotypically heavy-metal. Most of the songs follow a very recognizable pattern: they begin very electronic and then the metal guitars enter the game and the song ends almost forgetting its electronic elements, which are usually put in a second place dominated by the guitars. There're good songs though: 'Last Flood', 'Isolation', 'Scent' or 'Metalmorphosis'; the others are much too metal for me. The real jewel in the record is 'Alive', a very beautiful ballad and one of the best DK's songs ever. Their following album would even envigourate the metal elements leaving the electronics much aside. But new album 'Dekaydence', which features singer Engler in his new side-project sounds more like an evolution from 'The Final Option' as if the two following more-metal albums would have never existed.

The industrial pioneers released one of the albums of the year with this. Minor MTV hit Isolation isn't even the best song, as Eggshell and Metamorphosis will attest. The old industrial/thrash chesnut was taken a step further with 'the german James Hetfield' Jurgen Engler firmly at the helm, planting richly distorted riffs down over pumping industrial drum tracks. Very good, and recommended to people who like heavy music with clarity and intelligence

krupps-one of the forefathers of industrial music does it once again to push the forefront of technology against the traditional grain of industrial music. Odyssey of the Mind has to be the perfect blend of metal-machine music. look for the new krupps coming this year and jurgen's other project-DKay.com-single released in september 99 sometime.-----TO THE HILT----

Wow, DVOA is really something else. The electronic music on disc 1 feels very versatile. The 2nd disc here, the ambient one, is composed predominantly of neverending drones. & they dissonate. This music is probably for rain.

PISS FROND is an excellent starting point for anyone who is curious about D.V.O.A. fans of techno, goth, structured songwriting, dance music, drone, ambient, noise...will surely find something to like on this 2 cd set. cd 1 features drums and guitars, strings, verses and choruses, and even some singing; while the 2nd has two outstanding and beautiful drone pieces, as well as some material more akin to the previous albums. PISS FROND is deinitely a change, but a welcome one.

Spybey's work, whether solo or with the boys from Download, has always possessed a unique, frenetic light. He rises above his contemporaries to achieve something that is at once totally original and infinitely intrigueing, and he does so with Piss Frond, and does so perfectly. If I were to choose something with which to contrast his work, it would be the On Land era of Brian Eno. Though, even that is something of an invalid comparison, not only due to the fact that one disc is techno-oriented rather than ambient, but also that the intended target of the comparison, the ambient disc, is much more surreal. Not to downplay the originator of the genre, but unlike Eno, who intends to take you somewhere with his music, Spybey just kind of snatches you off the ground and places you in a euphoric limbo. The techno-oriented half of the album is innovative and powerful in this respect as well, it should be noted, with its dizzying showers of sounds and brooding, earth-toned darkness. Mark has outdone himself. I anxiously await what he will release next.

This band has alot of texture to their songs. I like how the lyrics are from the perspective of someone who is not afraid to say/admit things that people are afraid to say. There's some atmostphere and alot of destinctive character in there and the instruments seem to perfectly express the emotion in the lyrics. My favorite song is "All the things I do", it sounds like it would be a good track to put on a horror movie soundtrack. Ellen Bledsoe's voice is like a little Annie Lennox and a little Toni Halliday from Curve. Another reason why I like the singer is 'cause she's from Fort Wayne too. It's just too bad Radio Iodine broke up so soon in 1998. I hope I can find a band that is similar other than Garbage. Radio Iodine sounds a little more dark than Garbage.

This band is very good. They sound a bit like Garbage and the Sneakerpimps if you were to mix the two together. The songs have a lot of personality and sophistication, and the theme hints a little bit at various types of psychosis (mania, depression, schizophrenia) overall the mood is very dark, but the singer's voice is extremely alluring and she alternates between being an idealized version of herself (a perfect angel) and some twisted shadow of that image. Buy this album. You won't be disappointed.

I first heard Radio Iodine about 3 years ago when a buddy of mine happened to have a CD from a show they did. This is the only place I've ever seen the CD since... and I looked for a long time. The band has a very fresh sound... maybe a bit like you would expect Garbage and the Sneaker Pimps to sound like if they were thrown together. It's a little different at first, but the music is really great and after a while it grows on you... plus it really sticks, unlike most of the stuff that Garbage writes; and there's a level of sophistication here that's very rare of angry girl bands. Check it out, you won't be disappointed.

Lets face it a guy that can play like this will have guys like me who love great songs with awesome soloes dying to buy their next release the day it comes out. Man, was I freaked at no soloes on the cd!!!!! The songs are actually really good but not sure I like them as much as Human Condition. I can only hope this guy puts out a solo cd with 100 guitar soloes! Shaun is a Chris Poland, Marty Friedman, Nuno, Vai type player!!!!!!!!

This is a simple review. I love all forms of music, but these guys are simply too original. I tend to stear mostly towards more progressive titles, but these guys simply rock. No noise, simply unconventional writing and playing that never ceases to captivate. I don't even know how to classify it.... progressive rock-metal-jazz-fusion-grunge-progressive-new wave-techno-acoustic....

Listen to All Too Real, then you'll get it

If you want to label Event's style, you can say they're a cross between King's X, Faith No More, and Nine Inch Nails. After listening to they're newest album, you'll agree that they belong in they're own genre. Shaun Michaud's guitar playing has the perfect blend of feeling and technique. Unlike other bands that depend on one or two songs to carry an album, Event has recorded a masterpiece in which every track is worth listening to over and over.

The first thing that went through my head during my first listen to The Man Who Loved Couch Dancing, was "what the hell is this!" I was well aquanted with the gibson bros. sound and this cd didn't appear to have it at first. It starts off with this lame rap music that cuts into other music, that eventually cuts into a fake radio announcer. Once the Intro/Kansas City track ends you hear a police annoucer with car chase noises going on in the background. After nearly two minutes of cheapo samples you finally get to hear a really great "raw" version of Bo Diddley's Roadrunner that rocks. The first half of the CD also includes a Jeff Evan's now standard Slim Harpo's Hip Shake and two of the gibson bros best songs, Don Howland's Louis Collins and the touching tear jerker that is the title track by Jeff Evans. During my first listen, I was kind of let down by the second half of the album, which consists of six live tracks recorded with Christia Martinez on drums and Jon Spencer on guitar. All of the second (live) half isnothing more than obsure cover songs played real sloppy. The CD version includes a Bonus Track that's a great version of Jack Scotts' The Way I Walk.

The Man Who Loves Couch Dancing is quite magical. It's one of those albums you end up reading about and never find. It's such a complete mess yet at the same time it's a timeless materpiece. It's not the easiest album to love, but it's worth every penny in the end.

I Love the GIBSON BROS. buy this album if you can find it

and while your out shopping, pick up some '68 COMEBACK and anything by the BASSHOLES!

Y'all best be aware that there's about three different bands listed on amazon as gibson bros. this one belongs to the band that has included Don Howland, Jeffrey Evans, and Jon Spencer among many others. The title track will break your heart even if you've never been so fortunate as to have a couch dance. Lots of reworked cover tunes. Lots of fun. Jeffrey Evans went on to form '68 Comeback, (another good band, often lo-fi). A favorite tune of mine from this is Louis Collins which features a well-placed NWA sample. Another great album of theirs is Dedicated Fool which was released on Homestead Records and features such songs as Tight Capris and The Sperm Count. Definitely an underrated band in my book. I love The Man Who Loved Couch Dancing!

I have no words, no wait, I have some words to describe how divine are the gibson brothers. They are the very, very best at what they do do. david_vcp@hotmail

Theses tracks are closest to ELpH vs. Coil Worship The Glitch, which is a cool album, but is not like most things that Coil does, but then again Coil's music changes all of the time.

This album has its strong moments, and its weak moments. Its strongest is "Glow Worm/Waveform", and Its weakest is "A Warning From The Sun"

This album has a very odd feel to it, and I am sure that it is intentional. The electronics of all match the time of year exceptionally well. Coil manages to pull it off indescribably well. Spring's electronics feel renewing, starting, and building up. Summers's feel hazy, warm, sharp, and almost bright. Autumn's feel retrospective, aged, mature, aware, ending. Winter's feel cold, seperate, transcendetal, almost like "afterlife". This is something only Coil could do without looking pretentious. The only greater example might be their "Angelic Conversation" soundtrack.

As another of the "Seasons"-Series, this is probably the weirdest - and possibly the most potent of the four releases. Unfortunately, the track listing on the Amazon page is stightly erroneous, so I take the liberty of correcting:

1. Bee Stings

2. Glowworms/Waveforms

3. Summer Substructures

4. A Warning From The Sun (for Fritz)

This EP, with a running length of approx. 25 min, offers four different kinds of music in four songs that could not be more various in their respective styles: "Bee Stings" is almost conventional, a combination of electronics and beautiful strings, whilst "Glowworms/..." is close to ambient droning - which is not to say it is not highly interesting. Even more multilayered than aforementioned song is "Summer Substructures", that takes more than a bow towards Schoenberg. If Coil ever did a song that really deserved the label "sidereal", living up to both possible linguistic interpretations of the word, this is it. The last "tune" almost does not deserve this title, as it is a very chaotic, almost (but not quite) unlistenable collection of noise and shrieking vocals, making the listener more than just a little bit uneasy - which in itself shows it's brilliance: When was it the last time a song/tune/whatever really made you think whether you could stand it any longer? (and NO, I don't mean Dancefloor!)

First, let me say that I am a very big Kreator fan. I do not like this album. I honestly can not stand listening to this album. The production is weak and thin and it really does not sound anything like any of the previous Kreator albums. I understand that bands might want to change and experiment, but I just cant get into this.

I think the reviews on this are a bit too high, but I'm glad it didn't get slammed like I thought it would. This album was an experiment for Kreator, incorporating industrial sounds and lackluster production that caught all the fans off guard, including myself. What really hurt this album was that it followed Extreme Aggression & Coma Of Souls, arguably 2 of the finest thrash albums ever recorded, not to mention all their earlier work, but these 2 albums in particular found Kreator with a tight sound with very meaty guitars and great production. Renewal is lacking in all these departments EXCEPT the songwriting. To prove my point, listen to the Renewal tracks on Scenarios of Violence or any live recording...they rip! What can become bland to listeners on Renewal sounds completely different elsewhere. I liked this album from the beginning despite the total 180 degree turn they took. Kreator has given us fans so much great music and it's nice to know that even their worst album is still much better than a lot of other stuff out there. I personally would like to thank them for making my neck sore on many occasions!

What distinguish this album from the former and the latter Kreator albums are that:
1. Slow(er).
2. Have synth effects
3. Downtuned vocals
4. Downtuned guitars

So is it a bad album? No way. This is one of the best (for me it IS) Kreator albums ever. Political lyrics, aggressive sound, riffs & riffs... Euro-thrash in its purest form...