Pain – Coming Home – Review

November 11, 2016

Combining everything from industrial to country to metal to classic rock, Tägtgren is just endearingly weird — in the Les Claypool or Devin Townsend mold — when he’s in Pain mode.

Killing Joke – Pylon – Review

December 18, 2015

This is a superlative work of industrial music from start to finish – 10 impeccably crafted songs that drag you slack-jawed through the gamut of human experience: Hope, despair, awe, anxiety, and beyond.

The Birthday Massacre – Superstition – Review

December 12, 2014

Canadian dark wavers The Birthday Massacre, now halfway through their second decade of existence, expertly walk the line between electro that’s moody and intriguing and electro that stumbles into cheesy territory.

Rein[Forced] – Pre-Existing Conditions – Review

December 5, 2013

The album is comprised of remixes from the band’s 2012 release, X Amount of Stab Wounds in the Back, and this reworking of the song by L.A. EBM band Imperative Reaction is even more harrowing than the original.

VNV Nation – Transnational – Review

November 15, 2013

20+ years and heaps of tracks and remixes since their inception, dark electro veterans VNV Nation still have some fascinating headtrips to share, as evidenced by Transnational, their ninth album. It’s a solid mix of atmospheric mood pieces and more straightforward beat-driven dance numbers.

Helalyn Flowers – White Me In / Black Me Out – Review

August 23, 2013

Helalyn Flowers combine a strong, beautiful female singer and a strong electro metal-tinged male rock beast, so it’d be hard to go wrong, yes? Well, no. It’s easy to be a filler band, but when talent and personality sparkle through like this, and all the details are addressed, a band can really shine.

SMP – Death of the Format – Review

August 22, 2013

SMP (Sounds of Mass Production) delivers on the promise of “Metal Madness” with these five minutes of hard driving beats that layer metal aggression (and a delightfully wanky guitar solo) over a dance/industrial skeleton, along the lines of Pain or Rammstein.

Essence of Mind – Indifference – Review

August 21, 2013

Looks to be 11 new tracks and 11 remixes here on Essence of Mind’s third full-length. Norway’s answer to anthemic synth pop, while there’s nothing here to topple Apotygma Berzerk or Zeromancer, there are many potential single here, faves to play on dark, late night drives, or singing along cleaning your apartment.

Siva Six – Superstition – Review

August 19, 2013

A 15-song EP to tide fans over until the next full-length, which’ll probably have 35,000 songs on it with all the remixes this genre loves so much. The Greek Gothers nailed it with 2011’s The Twin Moons, and this Superstition EP continues the distorted whispers, frantic beats, and industrial chaos.

Implant – The Productive Citizen – Review

August 12, 2013

The Belgian duo Implant have been around since the late ’90s, and it shows. The 12 songs streamed raise the pulse like the cold, classic, harsh EBM of old, complete with distorted vocals, news samples, plenty of trance-inducing repetition, and harsh keyboards replacing the crunch of “metal guitars.”

Front Line Assembly – Echogenetic – Review

August 2, 2013

Echogenetic marks a return to Front Line Assembly’s earlier all-synth phase, losing the industrial metal sound that had become a huge part of their sound. Bill Leeb is the sole founding member on this album, with returning players Jeremy Inkel and Jared Slingerland joined here by Sasha Kevil and Craig Johnsen.

Aesthetische – Nachtbrenner – Review

July 31, 2013

Aghast View and Biopsy side project returns with a 15 track release, few new songs, bunch of reworks. EBM, pure and simple. Hard industrial dance, steering more toward melodic synths than distorted snarl, and all the better for it.

Kant Kino – Father Worked In Industry – Review

July 29, 2013

Second full-length, lots of singles collections, Father Worked In Industry’s 14 offerings combine the cold distortion of ’90s-style dark industrial with the anthemic synthpop of 2000’s faves like Apoptygma Berzerk, including chillingly beautiful female vocals.

Cynical Existence – Come Out And Play – Review

February 8, 2013

Upstart Swedish band Cynical Existence has some serious trouble with this concept on their debut album. Their stone-faced nü metal-style lyrics (misanthropy, questioning religion, heartbreak) and growling Luna Vachon delivery is completely at odds with the dance-happy “dark” beats of their electro sound.

Blaqk Audio – Bright Black Heaven – Review

September 14, 2012

Blaqk Audio is the electro side project of AFI frontman Davey Havok and guitarist/keyboardist Jade Puget. The duo don’t treat this as too radical a departure from their day jobs, since they bring over the tight song structures and pop sensibilities from latter-day AFI and give it a danceable synthpop sheen.

Marilyn Manson – Born Villain – Review

August 13, 2012

Even a decent Manson track is a fist-pumping-your-girlfiend’s-mom experience. Nasty guitars, smart lyrics to whisper while fucking all your little sister’s friends, and snarl that’d make a lion tuck tail.

Fear Factory – The Industrialist – Review

July 6, 2012

It’s odd that The Industrialist, Fear Factory’s eighth album, sounds so much like a “band” album along the lines of FF landmarks like Demanufacture and Obsolete. Who knows what level of collaboration amongst the four band members actually occurred during the making of those two late ’90’s classics, but they sound like The Industrialist does: Energized, angry, and with something to prove.

Skinny Puppy – HanDover – Review

July 1, 2012

Industrial stalwarts Skinny Puppy are as wild and weird as ever on their 14th album, HanDover. The big beats of “Village” stand well on their own, but, as always, they’re just one of many puzzle pieces that make up another eclectic effort.

Suicide Inside – Homicide – Review

July 1, 2012

“Suicide Inside stands for an eclectic blend of aggressive electronic music and furious industrial rock, with heavy breakbeats, rhythmic noise, and Natasha’s razor-sharp provocative female vocals. An exploding cocktail of acid-house styled synths, distorted bass-lines, dramatic sound fx, and loud, powerful vox.”

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