'Gothtober - Exhuming the Tunes with Christian Death's ""Pornographic Messiah"

Though they walk through the valley of the Christian Death, they fear no evil is the theme here, along with god trying to fuck you. They are more commited to industrial and pulling it off in a smoother fashion than the previous album. That is not to say they are not indulging in some experimentation along the way. Of the first three tracks only one is a song. It's not til 'the Lie Behind the Truth' that they are willing to commit to busting out some guitar riffs again. Then there is the darker, brooding thump of "The Millennium Unwinds". It's thump drones on in one sonic color. 

"Weave My Spell" kicks into a more electronic groove that is more like KMFDM thanks to the guitar accents. I am fine with the industrial version of the band. In 19998 death rock was seeing a revival, and there were no bands even making the music, though goth rock has shifted focus over the years. "Washing Machine" is more likea Rammstein song, with lower, snarling vocals and the chug of guitars at the forefront. They cover Soft Cell's "Sex Dwarf," which is an odd choice, but here we are. The guitar adds more beef to the mix. 'Does it Hurt" feels like they are heading in a My Life With the Thrill Kill Kult direction. The almost moaned vocals and pron samples in the background cement the mood. It is not the most dynamic song on the album. 

At this point, I am preferring the heavier industrial sounds over some of the other experimentation going on; "The Obscene Kiss" kinda slaps. It has more of a chorus than the previous song. "Out of Control" is another bizarre sleaze electro-industrial offering, that finds the vocals reaching their peak aggression thus far, and for all its chaos, this makes it work. They take bipolar breaks from this to bathe you in ambient sound. "Die With You" finds them drifting off into a doomy drone. There is a thick, dark atmosphere to this, so it feels pretty on point for their overall vibe. The guitar melody helps it transition from one of the sound baths to almost an instrumental, as vocals do not come in until the final minute. 

"She Never Woke Up" finds them back in creepy industrial mode. They are darker and moodier than Marilyn Manson, but it is intersting to hear what they are doing in a post-Manson era. The vocals obviously picked up on how the tide was turning.  Even with the harder edge to the guitars, this is on brand for them. With a song titled "Pillars of Osiris," I assumed I was getting another weird sound bath and the drums almost made me second-guess myself, but I was right.The last two songs are both weird in different ways one is just noisy chaos the other is more deliberate but the ranting of a child are the vocals . I will give this one a 9, it's great Halloween music and I like what they were going for here even if the experimental elements are a tad overealous.

11.5

pst501

'Gothtober - Exhuming the Tunes with Christian Death's "Prophecies"

;Not sure why I did not spend more time with this album when it came out. The first track is ambient samples. It is clear on "Is This the Will of God"  that this is not going to be going back to the punk vibes, but a swath of ambient sounds and synths that have very little rock to them at all. I probably listened to this album a couple of times on acid, but its dream-like,  carnival vibes did not stick. It's not until "the Great Swarm of Bees" that we get something that works likea rock song. There are pretty heavy riffs, but it's run through a filter of experimentation. They do lock into an industrial drive on this one. There is also more of an industrial feel to "Into the Shitworld"; there are effects slathered on the drums to create a haze of weirdness. I wonder what drugs were being ingested during this session. They throw a funky bass line at you on this one. 

"Pig Half Man " has a weird chorus, but the weighty stomp of the song sells it. "Conspiracy of Love" finds it working off another solid 80s groove, once again a more pastel mainstream take on the genre. Sure, plenty of current pop artists like Chappell Roan also cash in on this nostalgia, but this is a less corporate vision of that."Thunderstorm" is also a moody winner with an atmospheric tension to it and great vocal dynamics. This is without a doubt a weird album, so I am really only grading it according to the actual songs and then just ignoring most of the sprawling ambient pieces. The last song is more industrial, with multitracked vocals.  The drumming is more metal. I will give this album a 9; there are some forgotten gems on it and if you want to hear their heavier side worth a listen. 

pst497

Gothtober- Bleached Cross : "Wrath"

 It's about time we get into some heavier shades of darkness. This album starts off with more of an industrial feel and sung vocals that drift behind grim sonics. A bass line carries things into a synth-laced dungeon of sorrow. The sung vocals deviate from your typical sullen post-punk tropes and have more of a 90s industrial rock feel, with more angst to them and hyper-emotional delivery. It's emotional to the point of being emo, which is heard on "Blood Moon". The fact that it's not trying to be pop punk or anthemic makes this work for me, since it would not if this had been handled differently. They have synths where the big arena power chord would normally sit. 

"Crucible" is more likea a post-punk but with mid-2000s  smoothness to the melody, like the Killers might have done if they were darker. Things get more aggressive on "Tomb," which uses harsh vocals and some atmosphere. "Lingering Souls". The more emotive vocals return on "Lingering Souls" . The more emo melodies are balanced with electronic elements. Not the smoothest chorus, but it works for what it is. "Torment" finds us back in 90s industrial mode. 

"Requiem" finds their feeling more invested in a manner that brings AFI to mind. The more militant vocal refrain reconfirms this AFI comparison. "the Dark" finds a more modern post-punk vibe established, which is one thing I should be clear about: they have more of a late-90s post-punk sound, owing little to bands like Joy Division. There is a Myspace goth feel to this for certain. Lyrically, it seems like religion is what broke their hearts on this album. There is a cool bass line that leads into the last song. Things shift into a danceier place for this song. I am going to need to spend more time with this album but I like what they are doing and their commitment to making their personal darkness into sound, so I will give this album a 9.5 

pst486

'Gothtober - Exhuming the Tunes with Christian Death's"All the Love All the Hate" (Part Two: All the Hate)

 Ok I just reviewed part one, and it's no surprise the all the hate" part is going to be my favorite of the two. "Born in a Womb, Died in a Tomb" is much darker and slightly industrial in its attack. Production-wise, it is a little clunky. The mix is weird, but lyrically it's great. It reminds me a little of Alice Cooper. "Baptized in Fire" is more than just slightly industrial; it is fully commited. It is also droning and experimental, but the guitars hold it together. "I Hate You" is totally silly, as it has a child ranting about why he hates you over the track. I am not into silly shit when it comes to music, as it loses its novelty on the third listen, if that. 

The production is the main problem with this album as "Children of the Volley" would have landed better with the vocals getting different treatment. Some of this is growing pains as they have outgrown the punk way of doing things, but when using metal guitar tones and riffs that figure more prominently, it needs to get the treatment of a Killing Joke album. "Kneel Down" works better under these conditions. The vocals are snarled in some parts here. I am not sure this song needs to be almost six minutes long."Climate of Violence" is more punk in its rowdy intentions.  Things build into a Slayer-like riff. Then things take an odd shift into weirdness, which sounds better; it's how the guitars were recorded that alters things here.  I am not sure what drugs he is on here, but their effects are evident. Six minutes in, it sounds like they are ripping off a Megadeth riff. 

They return to industrial for "Final Solution". It carries a machine-like drone on this one.  "Nazi Killer" works off a similar industrial formula as the previous song, with a metal riff holding everything down for the samples overlaying it.  Vocals do not come in for over tow minutes, and when they do, it's more of an angry rant. Once again, six minutes is pushing it. "Man to Father Fire" has more of a Megadeth feel on the guitar, as the vocals wander around. It's like he is just figuring out how to adapt his vocals to metal. There are stream-of-consciousness vocals that might have more bite if arranged differently. I will give this one an 8.5; they deserve a re-mix at least. 

pst481

GODFLESH : "Decay"

The 10th album from JustinBroadrick's crushing British industrial machine is a harrowing portrait that reflects the state of the world back to us sonically. The nightmarish opening track his a huge sound. As a song, it's more of a hypnotic, droning mood, andd a fitting soundtrack for the end of days in any case. This also marks the end of Godflesh and perhaps music for Broadrick due to health issues.  Vocals come in for the second song, "Living / Ending," which finds a powerful groove that throbs and captures the classic spirit of this project. The guitars carry a gargantuan chug that sounds like a monster stomping through Tokyo.

 Ben Green joins Broadrick in this farewall with his bass thumping as aggressively as ever. "Feral Colony" finds the momentum building even though his vocals are more of a distant chant over the collapsing world captured in the samples of this song.It shows that atmosphere is just as important to industrial music, as it brings balance. This carries over to some extent in " Fear of Man", It's less droning than the opening song, but not as song-focused as the rest of the previous songs.  

"Fodder' has a more malicious intent in its pounding...It varies just enough to create the illusion of having a verse and chorus section. Their version of dynamics is how many layers of sound are included in pounding your ears. "Consume Me " is the lat song on their last album, so that puts the pressure on. It is sonically heavy and rings out with dissonance. The vocals are a lower,\ snarled mutter as the song unfolds in a singular point of bleak expulsion. This sprawls out for almost 12 minutes. This does sum up who they are and what they do even if it is not their best batch of songs, it's better than many bands' best batches of songs. This band just raised the bar for themselves really high, but with that said, I will still give this one a 9.The end comes September 25th on Relapse Records.

 

pst429

PIG : "Dirt Box"

 

Raymond Watts has been particularly prolific these days. After releasing "Hurt People Hurt People," he is releasing this EP. It opens up with the very guitar-driven "An American Ideal of Beauty". If it reminds you of KMFDM, it's probably because Gunter Schulz is laying down the metallic riffs on it. There is almost a more 90s industrial metal feel to "Your Reptillian Overlord Presents" that is not unlike the kind of thing Rob Zombie was doing on his most recent album, though a bit darker and more nuanced industrial vocals than the roar Zombie normally delivers. But the crunch and groove are present and working well here. 

"Infidel" carries more atmospheric fear in the more lurking tension of its verses than the anthemic chorus. The vocals drop down into a lower, more dramatic register before building up in the more arena-ready Rob ombie manner. Yes. I am well aware of the fact KMFDM was making this kind of music long before Rob Zombie, or at least back when he was making crusty sludge punk that was trying to be the Stooges. However, since then he has perfected a formula that keeps him headlining stages, so it must be working.  Watts is certainly drawing inspiration from artists that came after him, as there is a Marilyn Manson feel to "Butterfly", another artist whose beginnings were different than where they are today, but has developed a formula that has a proven track record. Here Watts perhaps winks too heavilly in that direction. 

This ends the original song format, and the rest of the album is remixes. The thing about remixes, when presented in this fashion, almost makes me think if the remixed version is better than the original, then why did they just not make the remixed version the original and release an album of the best vision of these songs? With "Your Reptillian Overlord Presents," the breakbeats give a more original soung but the mix lays the vocals bare and makes them sound more like Marilyn Manson, so it's a mixed bag. "An American Ideal of Beauty" is remixed by Stabbing Westward, who brough a more 90s sound to things. It takes the heavier guitars out of the equation until the chorus. Which works well enough, and I can hear a "goth night " DJ  spinning this version rather than the original.

Combichrist's re-mix of "Butterfly" sounds more likea cover with Andy's vocals added to it. It is softened by the synth sounds. , however it all works well. Rabbit Junk's take on "Infidel" is heavy but from a different anglee as it's more industrial and less metal. If you do not know what that means, then why are you reading this review?  Anyway they capture a solid groove.Despite leaning into a more modern sound what his does here works great I will give it a 9 and see how it grows on me . Drops on Metropolis Records

pst418

St Digue : "Secret Language"

 This album reminds us that, for better or worse, "darkwave" is changing. It's evident this Danish artist takes more inspiration from Drab Majesty and The Black Queen than from VNV Nation or Sisters of Mercy. Though there is a fair amount of industrial leaning, which helps justify this to some extent. The drum programming is the main hindrance I hear on the first couple of songs. You can also draw conclusions that he is influenced by the "Pretty Hate Machine" era of Nine Inch Nails. "Down Below" hints that he might be able to sing better than the first two songs suggested. 

The beats improve for " I Told You So," though the vocals take a step backwards from the previous song. Theuptempo shifft helps increase the overall dynamics of the album. Even though "Relapse" builds into something with high energy over all it'schaoticand not focused, and he sounds like ChuckMosely from Faith No More here. Pitchy, but making that work for what he is doing the best he can. 'Amen" is darker and more melodic, which is worth mentioning; as for a "darkwave" project, this album has not felt all that dark to me. This might be due to the fact that the newer "darkwave" that has come from indie electronica is more hazy and less dark. Angry does not always equate to dark, but he gets props for being willing to be angrier, which is what a great deal of the new industrial-tinged music does not get. 

The strongest song on the album might be 'If You Don't Get it Now, You Never Will" has all the elements I have been on the fence about, like the vocals and drum programming, hit their mark and show what this project needs to be tapped into to excel. They work off an angular groove for "Meltdown" that proves effective when they break down for the verse. Then bring a sax in for the 80s synthwave nostalgia. The title track that closes the album is not the most focused song. I will give this album an 8.5. With the right producer, this could be something, but more supervision is needed in this form; however, if you like the indie-"darkwave" sound mixed with 90s industrial rock liek God Lives Underwater. This is for you. Drops October 8 

Thanks for reading. Give a listen to the song below, and  please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

pt409

L.O.T.I.O.N multinational corporation : "Machine Halluinations"

 Electronic tingehardocore does end up sounding like industiral. The first song sounds like it could have been from the 90s. I do like the harder-edged guitar fighting against the synths. "Spiral of Destruction" sounds like White Zombie jamming with the Butthol Surfers.. You could almost say something similar about "Absolute Insanity," but it also carries stronger ties to Killing Joke. But it also finds them settling into more of a songwriting formula. "Boots On the Ground" is more Ministry-inspired.

They kick up equal amounts of dirty noise and grooves on "Digital Rot".At this point in the album he vocals begin to get a little boring with their one-dimensional nature. I suppose if Motorhead is one of thre your favorite bands, you won't notice. Speaking of Motorhead, the vocals take on a more Lemmy vibe for "Acid Reign." . The vocals also have a little more purpose on this one so that works for me. There is a more punk feel to "You're the Product" 

"Never Say Never" is another more punk song with some Devo tendencies. This is offset by a more metallic riff driving it. Then it's back to a more old school industrial sound for "Smooth Operator," tink Revolting Cocks in this regard.. Lulu contributes her voice to "Five Star General," which helps to switch things up into a more indie new wave revival sound. Overall I appreciate what they are going for here, not blown away by it , but they captured the sound of an era I like and wrote some decent songs on their own terms making this album a great deal of fun so I will give it a 9.

pst378

Sunswarm :Those Who Do Not Build Must Burn"

 

To say this is an experimental industrial project would be a gross overstatement, as industrial music should be rooted in confrontational exploration. It's the very roots of the genre; bands like Nine Inch Nails have just packaged this in a more user-friendly sheen over the years. This project marries the genre to post-rock in the spacious sonic sprawl unfurled here with more than enough atmosphere. The opening track "Erasure" carries enough of the apocalyptic crunch to be convincing even if this is employed in a more unorthodox manner. The vocals are screamed with a more metallci angst than most. Slathered in effects to balance the aggression with the futuristic nature of the desolate landscape captured here. They are capable of delivering a harsher pound than even Godflesh.

The eponymous second song carries more of the Nine Inch Nails type of machine march into a bleak sunset. The caustic howl of the vocals takes it in a darker direction than what Trent Reznor does even at his most angst-ridden. "Inside the Torn Apart" ebbs from a more subtle ambiance to in-your-face hammering. It takes just over a minute of ambaince to set "With Your Beautiful Mind..." in some semblance of motion, but evne then it lingers over samples before kicking you head in with blunt force trauma that recalls the heyday of Ministry. This song is more abrasive than the first three. 

While aggressive, the first song I can think of dancing to would be "Sour" if that is the reason you ingest industrial music. There is a groove to the stomp of the song that would lend itself to that. "Rneded" closes the album. It is a return to the more post-rock side of the band. The gradual build-up from the electronic buzz. The beat sounds like a bomb going off. The eerie ringing of guitar chords offers a respite to breathe rather than being met head-on. It almsot feels like it should have been the opener. It works very hypnotically. I will give this album a 10, they excelled at reminding us what industrial music should be about. 

pst326

Thin Eater : "Incisor"

 

Perhaps it's the mood being set by the first trickle of Halloween things into stores that has me on a goth kick, but that is where we are at bringing me to this Swedish project The first track is a more abstract intro to set the mood, but I like that it blends a few different dark sounds; the first actual song, "Infernal Motions," is more of the typical sound you would expect from a dark wave band. The beat is up-tempo, and synths drive it while low baritone vocals croak likea vampire with a sense of drama. "Half of a Double Giving Birth" is an odd song title. The beat has some movement to it that is effective, even if the drum programming sounds a little dated; perhaps that is the point. The vocals are well produced.

I like the lbend of futuristic industiral sounds used over the post-punk songwriting template thansk to the emotive vocals; at times this sounds like Gary Numan."Blood On My Face" returns to the more conventional take on the genre, but there is a slight Pet Shop Boys vibe haunting it.  Some of the brighter synth notes make it not as effective as the previous songs. I can imagine "Draconian Pulse" getting a dance floor churning with its pulse-racing tempo. 

The beat to "Nex Animae" feels like it could have been created by AI as it's cinematic yet color-by-numbers."Meglomania" finds the beat starting to lack dynamic contrast, leaving the vocals to carry the weight. "Into the Whispering Sun" is a little darker, but it's hard for me to shake the AI thing once I hear it. The last song is more of an ambient outro. I will give this album a 9. I like the elements it combines.  

pst325

Choke Chain :"Decomposition"

 

This project comes from the Skinny Puppy school of industrial, which I can appreciate as it's dark. Haunted by drifting saples that pass through the background of the song, I had to minimize windows on my computer screen to see what was making the noise at times. The opening track creeps more than pounds, and drones on a uniform groove. The vocals are snarled behind a mask of distorted filters. They do not conform to standard vocal arrangements and are like machine elves scowling from the corner. The first two songs find them taking a similar apporach to the abstract narrative formed. The beats are meant to cause anxiety, not get the dance floor moving. This is endearing in and of itself as it takes me back to what I always felt wa true goth, not doing predictable dances but shuffling a smoke-filled club on a ton of drugs. 

Going into "Morgue," it was important to me that they switch it up rather than have multiple songs working on the same mood. The reality is "Morgues' is an ambient intro for "Life Ends" where the beat is dropped in an early 80s flavored industrial fashion. The vocals are more aggressive. However the do maintain the stream of consciousness approach, which in comparison to Skinny Puppy is not as dynamic as Oghr could make abstruse musings, but also bring it together to pack a hookier punch. This project proves the can also accomplish this on "Imprisoned". It is also the first song where the vocals are articulated in a manner that really gets their message across in a powerful way, making it the album's best so far. 

The last two songs are remixes of previous songs, the first being the MVTANT remix of the title track, which makes it more club-focused with a more grooving beat brought to the forefront. There is a similar approach to "Imprisoned." I felt some of the synths softened the harder impact of the original version,but I can understand why this was done to make it more goth club friendly in that regard, so it works for what it is. Overall, this is effective, and I enjoy the mood it creates. I will give it a 9.5, one of the year's most authentic industrial releases so far.Drops July 10th on Negative Grain.  

pst231

Third Realm : "Escape Sequence"

 

This project brings a hard-hitting take on industrial's more EDM side. This does not mean they are compromising the aggression; in fact, the opening track is hitting harder sonically because it is not falling back into 90s nostalgia, but brings the kind of uncompromising attitude that industrial music used to have before too many of the artists got preoccupied with blending into safer mindsets, to not upset the fragile younger fan base merging.  This album goes back to not giving a fuck. They are not always in your face and confrontational, allowing for some ambaince and mood to a song like "Drain Me". This might appeal to the more dramatic old school dark wave fans, as it blends with future pop sensibilities. 

"Twist the Knife" takes futuristic synths and bleeds the desperation and melancholy from them to accompany the very emotional vocal preformance. The yare not so preoccupied with capturing the synth sound from a certain era that they forget about songwriting, as the vocals have a great deal of purpose in these songs. At times, they flirt with a more Depeche Mode-like feel. There is a slow build to "By My Side" that lures you out onto the dance floor. Some old-school techno melodies haunt the background here. Things get darker for "the Damage Has Been Done," which, much like the opening track, highlights what I feel sonically is the strongest side of the project, though I understand the need to have the more melodic songs to provide a dynamic contrast. 

"Leech Parade" does not employ beats that hold the same level of malice as some of the previous, more industrial-leaning, but the heavily effected vocals pick up the slack in this regard. It's another example of how the attitude of the song provides more of the punch. It might be the album's darkest song yet. There is more overt thump to "Compliance Pulls the Trigger." The vocals shift to a higher pitch, creating a different attitude and more of an early 2000s feel as it crosses over into "goth". "Rockets" shifts the mood almsot to the other end of the spectrum with a more Pet Shop Boys feel. I appreciate the dynamic range it introduces. There is still a lingering melancholy to this whih works for me. The beat keeps it's it from becoming too much of a ballad. The deeper you get into the song, the more you can hear the Depeche Mode influence returning. While I enjoy the two remixes of 'The Damage Has Been Done," I am not including them in this review for the purpose of scoring this album. 

With that said, this album surprised the hell out of me and impressed me, a feat when you consider how much dark music I review over the course of the year. There has not been anyone else who has dropped a club-ready set of bangers like this, so I am going to give it a 9.5 and see how it grows on me, if you are into 'goth" laced edm with a future pop sensibilty to the production then this album is for you and even if you don't think you are into that kind of music then you should still check it out as it has gone above and beyond, and are just good songs genres be dmaned. 

pst201

The Family Men : "Co/de/termination"

 

This band from Sweden mixes industrial with noise rock to create something interesting. The beats and sense of motion keep the opening track at a high energy intensity. The vocals are yelled with a harsher rasp from the tortured vocal cords. There is more groove going into "AOR". The vocals are declared with more contempt than they are yelled. The dynamics of it remind me a little of Fugazi. There is more of a Ministry feel to " Skull Theftt"; it starts chaotically, and they pull it together. 

As this album progresses, it becomes clearer that industrial music is the dominant vibe, even though it might be performed more organically than what most bands are doing today. Which is fine with me as I am a big fan of industrial music, and most of the elements that make that music effective, like the anger and drive, are in play here. Sometimes what they are doing just happens to be more chaotic and noisy than at other times when they pull it together into the kind of fun stomp you want from this sort of thing. 

A little more atmosphere creeps into "New Clear". The song does not catch its groove until mid-way in, but it works. "Scanner' is also another shift for these guys as the vocals are more rapped, following a similar droning industrial groove that many of these songs work off, which proves to be effective. "Luxury" falls along similar lines, though more aggressive vocally. The last song finds the hypnotic beats taking control while getting your heart rate going. The vocals are again somewhat rapped if not outright rapped. If you want industrial music with real instruments, experimenting rather than just grinding on the dance floor, then this album is worth your time. I give it a 9. 

pst155

PIG : "Hurt People Hurt People"

 Raymond Watts is not only a founding member of KMFDM, but has also worked with Psychic TV, Foetus, and Einstürzende Neubauten, making him industrial royalty. This is clear when you hear the heart-thumping lead single"Tosca's Kiss Things" that steers the album in a direction that is brooding and bombastic all at once. Jim Davies of Prodigy and Pitchshifter fame aids him in these endeavors. The vocals are not an afterthought but an emotional expression that adds more depth to the crunching, larger-than-life anthems that unfold here. The range from a gothy baritone croak to a more glam rock-inflected croon. 

With the kind of beats that established him in KMFDM, clearing the path on songs like "Sex  & Suicide." The album continues to flex its dynamic range. The title track is a recovery-themed musing that ironically carries a Marilyn Manson vibe.  "Scars" emerges from a chaotic dark hole and is not as groove-focused, but carries a quirky Tim Burton feel. There is more of a grimy machine-powered march, "Quid Pro Quo," that makes me think more of a 90s industrial. The synth sounds are well-layered on this one, though the entire album sounds great, and I found the perfect mix. 

There is an almost gospel melody that hovers in the background of "Ruins", as well as other contrasting sounds that come from left field. With lyrical references to a church of fire, I suppose it's the subtext to this."DNA" hits the hardest groove, and it the most dancefloor appropriate song thus far. The big layers of backing vocals on the chorus carry a KMFDM mood. "Imposter" required a second listen to fully digest; it was not as dynamic as the last song. It carries a creepier, more bluntly unsettling feel like a Manson tune. The last song contrasts this with a greater melodic range. 

The Verdict

Overall his experience in defining this genre shows him displaying his mastery of this while bringing a new mood to the table rather than a recycled attempt at nostalgia, so I will give this album a 9, and see how it grows on me. 

Drops May 27th on Metropolis Reccords

pst118

Rob Zombie : "The Great Satan"

 It has taken me a decade to resign myself to the fact their is little difference between where Rob left off with White Zombie and his solo work, which is almost as good. It seems he is eager to recapture his more classic sound, as this album opens with a heavier edge. "Tarantula' blends the two with a more aggressive guitar sound, grooves keeping this industrial thump moving even in the face of Rob's more rock n roll vocal stylings. He has never been a great singer, relying on effects and a keen sense of where to put the clever lyrics he spits out. 

"Rock n Roller' almost feels more like My Life With the Thrill Kill Kult. His declaration of being both an alligator and a space invader makes it sound like he is from Florida. "Heathen Days ' is heavier and more driving, making him sound just as vital in 2026. 'Black Rat Coffin" sounds like it came out after "Astro-creep", which is what you want from him. The groove to "Sir Lord Acid Wolfman" is cool, but no clue what the lyrics are about. "Punks and Demons" hits like 90s Ministry, "The Devilman" is very deliberate as an arena-shaking anthem. 

"Revolution Motherfuckers" rides a rumbling bass line with a rowdy march. "Unclean Animals" demonstrates what I said earlier about the effects on his voice being almost an instrument unto themselves, which really helps set the mood here and makes any vocal limitations forgivable. "Grave Discontent" closes the album, which is more of an instrumental outro. Overall, this album is fucking fantastic, and shows that just because you came out in the 90s it does not mean you have to forsake your sound when you can just perfect itI give it a 10.. 

  

pst62

KMFDM : "ENEMY"

Their mission statement is 40 years of conceptual continuity, but the concept expands in recent years, aside from the more rock n roll vibes the title track opens the album with, there does seem to be a similar vibe that checks off all the boxes you expect from the long-running electro-industrial band. They have a new guitarist that knows what the job descripstion call for, and Sascha continues to steer the ship in the right direction. There is a more ominous stomp that fulfills the dystopian obligations when it comes to "L'ETAT". It casts a darker mood over things, while the Lucia crooned "VAMPYR," finds them conscious of their goth-leaning fan base. Her delivery is aggressive as needed when it comes to an anthemic chorus. 

Annabella Konietzko takes the mic for "YOU" which is a great deal poppier than what we expect from this band, but it works pretty well for what it is. In fact, even with the small sonic shifts into perhaps more accessible terrority the songs flow pretty well. Better than I expected. Perhaps their strongest work in a decade. Lyrically, it does not feel as overtly political as some of their more recent efforts. Though the first hints creep in on "OUTERNATIONAL INTERVENTION," which might be about aliens stepping in to sort through things on Earth. There is a more Gary Numan-like synth pulse to "A OKAY" when coupled with the vocal melody here, it almost soundsl ike k-pop. 

They bring the dub back with "Stray Bullet 2.0."  Not the first time they have flirted with this sound.  Given the title "Catch & Kill" was not what I expected, which would have been more along of a "Light' style thrashing, there is very little on this album, but the melodic direction they go here works well enough. The highest doses of heavier guitar might be found on the instrumental."GUN QUARTER SUE".  I listened to the last song through headphones, and the production sounded not only much better, but actually stellar, so high volumes with headphones is the recommendation for this album. it sounded much better . I will give this album a 9.5, and see how it grows on me, but it stacks up pretty well against their other stuff and is less poppy than the last album.Out on Metropolis  

</div>pst59

The Top 10 Industrial Albums of 2025

Nothing is a more fitting soundtrack to watching the world unravel into a dystopian nightmare than Industrial? You would think fans of the genre would be celebrating this, but from what I have seen online, they are crying under the covers like the rest of the sheeple. If you are someone who believes that leaning into the end should be celebrated since it is a natural destination in the cycle, then you might appreciate the mood these albums created as much as I did.  After I sort through the top 10 albums of all the respective genres, I use those lists to compile the top 10 albums of 2025. The very fact that these bands made it on the list speaks to how great these albums are, so it's not a slight that the number 8 album is above the 9th album; there is something that just gives it an edge that makes me want to listen to it more. After all, we can try to look cool and pick the hippest bands for a list, but at the end of the day, what makes an album the best is that it makes you want more, and you look forward to listening to it again. Perhaps you can find your next favorite on this list, and I have included links to reviews of these albums if you want to check out the audio on these guys. Anyway, here are the top 10 Industrial albums of 2025.

10-King Yosef- "Spire of Fear." 

This project has always leaned in the direction of the abrasive end of industrial. This album pushed that even further with its increasingly confrontational aggression. Sonically harrowing would be one way to describe what is going down here. The mechanical stomp of industrial music is captured here,  but with a very reverb-drenched mix that sets the vocals at the end of a dark tunnel

https://abysmalhymns.blogspot.com/2025/08/king-yosef-spire-of-fear.html

 

       

 9-Dark Sky Burial - 'Sacred Neurotic" 

It is interesting when metal heads take things in a different direction; most tend to go in a darker goth, post-punk, or industrial vein, and Shane Embry's project leans into the latter.  Though being from Napalm Death, you might expect things to go head in a Godflesh direction. That is not the case. There is a melodic edge, and thanks to his collaborator  Carl Stokes, there is a trippy element to the sound that brings to mind projects like Tear Garden, Psychic TV, and Legendary Pink Dots with a break beat that often builds into a more aggressive industrial-strength vocal. 

https://abysmalhymns.blogspot.com/2025/12/dark-sky-burial-sacred-neurotic.html

 

8-Linx- "Annihilation" 

This industrial rock duo hails from Canada, a country that has been exporting some pretty decent music lately. Vocalist Zee Jaber, uses her voice in a more rock manner, rather than a blunt instrument like so many industrial bands do. Though a couple of songs into things, she employs a harsher metal snarl. The songs might work off the '90s formula of '90s build-up on the chorus, but the flow well from electronic pulses to more of a Fear Factory feel. 

https://abysmalhymns.blogspot.com/2025/08/linx-annihilation.html

 

7-Ministry -" The Squirrelly Years Revisted"

 The joke about back when Ministry sounded like Depeche Mode wore thin on Uncle Al, as he had begun to polish off the early songs for live sets even before releasing their last album. This is a re-recording of the songs from the "Twitch" and "With Sympathy" era. The vocals are more in line with how Al sings now. Sometimes the guitars are providing more heft, but on a song like "Here We Go," things are pretty much like they were back in the day, with the more new wave-leaning dance beats driving the hot rod that Jesus built. In some cases, this works just well enough. 

https://abysmalhymns.blogspot.com/2025/05/ministry-squirrelly-years-revisted.html

 

6-Black Cross Motel - "Songs For Switches." 

This band's 2022 album made it to the number spot on the year's Top 10 Goth Albums list. This time around, they kick things off with a more guitar-forward approach and a more aggressive industrial energy behind some straight-up metal riffs. Once again, the guitarist from Stabbing Westward is teaming up with members of the Atlas Moth to bring this weird and wonderful sound to life. Synths help set the tone for the darker undertones, which find a creepy ambiance settling over the march of discontent. They have captured a sound that could have come from the post-Manson goth rock golden years. 

https://abysmalhymns.blogspot.com/2025/10/gothtober-black-cross-hotel-songs-for.html

 5- Youth Code - "Yours With Malice." 

It brings newly refined sounds that are topped off with a vengeful hook. Sara Taylor's angry snarl is chanted like an apocalyptic cheerleader, in a similar style and cadence as the previous song. This, along with the fact that the bouncing synth sounds are not far removed from what they already hit you with, creates an almost "Pretty Hate Machine" feel.>On previous releases, they felt more like a militant version of Skinny Puppy, so this might be more neon lit, and not as dark, as say 'A Place to Stand' They employ more dynamics this time around. 

https://abysmalhymns.blogspot.com/2025/04/youth-code-yours-with-malice.html

 4- the Young Gods - "Appear Disappear." 

This Swiss band influenced everyone from David Bowie in his industrial days to Faith No More. Since 1987, their sound has been at the very least industrial adjacent, and they have always been ahead of their time. So if you hear a song and think it sounds like Nine Inch Nails, the truth is Nine Inch Nails sounds like them. Perhaps this album is not as cinematic as some of their mid-period work it does not sound like they are stuck in the 90s or wrestling for relevancy. Franz Treichler might not be bellowing it out like he once did, but his voice has held up well. 

https://abysmalhymns.blogspot.com/2025/09/the-young-gods-appear-disappear.html

3-Street Sects  "Dry Drunk." 

The first new album from the industrial duo in 7 years finds them snarling back with a renewed chaotic aggression. It chronicles the stint of sobriety Leo Ashline has as well as the relapse that followed. Ben Chisholm from Chelsea Wolfe's band produced this. They pick up where they left off, with a bad attitude that sounds like Virgin Prunes jamming with Full of Hell. It takes a few listens to really sink in, but it has equal doses of fragmented groove and glitched-out noise.  It all ends up coming together. 

 https://abysmalhymns.blogspot.com/2025/08/street-sects-dry-drunk.html

2-HEALTH- "CONFLICT DLC." 

Given how much I like these guys, it might be a surprise they did not take the number one spot, but the project that did evolve more into something different, where this band just streamlined and created a hookier, more accessible version of what they were already doing, maybe adding a vvitch house beat here and there, even then it was a close call, and give that this album is just now dropping vs an album I have had more time to spend with they landed here. 

https://abysmalhymns.blogspot.com/2025/11/health-conflict-dlc.html

1-Author & Punisher - "Nocturnal Birding' 

This is the first album that finds guitarist Doug Sabolick joining as a bandmate, which contributes to the more rock feel to things. Every song has a bird theme. There is a more overt industrial crunch to the amazing stomp this album carries n."s. Megan from Couch Slut, lends her voice to the ruckus erupting, with more detailed layers of melody luring you into one of the year's best industrial songs. The addition of guitar offers a big step forward, even if it moves them marginally closer to the conventions of industrial rock. The genre itself allows and fosters experimentation that creates almost an anything-goes attitude. This song and the previous song have been the noisiest so far, with this texture being most effective here.  

https://abysmalhymns.blogspot.com/2025/09/author-punisher-nocturnal-birding.html

Thanks for reading. Please "like" and share on social media to give music a voice 

https://www.facebook.com/abysmalhymns

Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666

pst612

HEALTH : 'Conflict DLC"

 

Opening with "Ordinary Loss" they tap into their balance of vulnerability and hammering industrial march, though with much more space given to the vocals that sit more forward in the mix for something that is not as dark as we have heard from these guys in the past, despite the barrage of metallic guitar. Lyrically, it expresses the same desperate and deprecating sentiments. 'Burn the Candles" might take a few listens for it to grow on me. While it works off a very high-energy propulsion beat-wise, there is a little more hope than I am used to hearing from them. The vocals sit back into the wall of sound a little more on the chorus, which is weird for them. It modulates into a pretty awesome groove. 

"Vibe Cop" was the lead single, which works off a familiar formula. His androgynous vocals haunt from within the cogs of the industrial machine churning forward. The pulse of "Trash Decade" is more along the lines of what long-time fans expect from these guys. Lyrically, it is also one of the album's stronger songs so far. "Anidote" is a sign of positive change, while it is written more like a pop song is finds them digging into deeper melodies and giving themselves the sonic space to do so. The songs fall within the accessible three-minute range. I think if they were going to break into the mainstream, it would have been before they were 6 albums into their career. But it should secure them as a more noted name in the circles they traverse. There is a subtle hook in "DARKAGE" that works wonders. 

'Shred Envy" is not about shredding guitar, but rather wishing he had never been born. There are plenty of crunch guitars and screaming mixed into the background. "You Died" has an interesting, almost witch house beat to it. The vocals sit in a more subtle place, with the lyrics cutting through to deliver their lamentations of heartbreak in the big city. There is a pop sensibility to it without selling out. "Thought Leader" finds them taking you down the sad boy path that works so well. The guitar sound is tweaked a bit on this album. I think staying on tour has played in their favor as a band. 

"Don't Kill Yourself" is another really emotionally powerful song, despite their knack for sounding disassociated from their emotional turmoil; the self-loathing is dialed up even from the outside looking in. They sound more like a band than they look like a band that might struggle with gender identity. The haint ones body feels very in line with this. There is almsot a more Depeche Mode feel to the last song. I will give this album a 10 and see how it grows on me, some of the production choices have to grow on me but they give me eno.ugh darkness to hit the place I want from them, which is somewhere in the sweet dystopian sound of self-loathing.  It is out on December 11th on Lorna Vista.

Thanks for reading, give a listen to the song below, and please "like" and share on social media to give music a voice https://www.facebook.com/abysmalhymns Check out our Podcast here ... https://www.youtube.com/@abysmalhymns666 pst567

Gothtober- Looking Back in Anger at Throbbing Gristle's "20 Jazz Funk Greats"

It's time to give a critical listen to the album regarded as Throbbing Gristle's best work. These guys are revered as the forefathers of industrial music, but how good were they? How dark are they? Is this garbage that has been passed down as a sacred cow by hipsters working at record stores and college radio DJs? First off, this is 1979. Their debut was released in October 1977, and Bowie released "Low" in January 1977, so there was already weird and wacky experimentation to trace back to. In 2019, Pitchfork proclaimed this the best industrial album of all time, but was that magazine not a descendant of the hipster lineage mentioned earlier? So let's dig in.

The title track, which opens the album, is colored with some sounds that would later be expanded upon in Psychic TV; here, it offers a tongue-in-cheek intro. "Beachy Head" is a swathe of dark synth sounds, at this point nothing Hawkwind has not done better and turned into an actual song. It would be hard to imagine Hawkwind not being wedged somewhere within the subconsciousness of Uncle Al. "Still Walking" is the first song that would be considered industrial here. But playing around with weird sounds is not a new concept, as Frank Zappa had already released "200 Motels", as well as the "no-wave" scene, and a band like Suicide. Not to mention Boyd Rice's "Black Album" that precedes this band. 

"Tanith" features a bass line that wanders around, accompanied by ambient synths. "Convincing People" finds the grit beginning to work its way in. I like Genesis's vocals on this one. A good song if you are doing drugs, sober, it's more of a novelty. "Exotica" might be seen as an interlude if it were not dragged out for almost three minutes."Hot on the Heels of Love" finds them getting somewhere; the sound collected now would be called synth wave, but someone is slapping a piece a scrap metal here and there in the background.  Some of the doodling synth lines are almost comedic, but I like this for what it is. Electronic music pretty much just evolved in terms of technology, as this composition just works by adding layers. Granted, Kraftwerk formed almost a decade prior. 

I like the mood "Persuasion" creates with the deadpan vocals contrasting the chaos in the background, as this song drones against noise. 'What a Day' does have a more aggressive and angrier pound, which would provide an early starting point for the sounds we call industrial, but it sounds more like songwriting, which is what afflicts this album more often than not. I am not including the bonus tracks included in some of the reissues of this album, so "Six Six Sixties". The guitar line sounds like something Trent Reznor might rip off before; more intentional vocals and stronger beats kick in. Genesis talks his way through this one; you can hear the influence of the Velvet Underground on this. I think giving this album an 8.5, is fair enough, as it allows the adventurous nature of what they were doing to be taken into consideration against the lack of dynamics or attempt to write actual songs, far from the classic people make it out to be,. 

pst502

Gothtober- Circut Preacher : "Heaven Can't Heal"

 

Now here is the kind of industrial music I am looking for this month, the kind that is dark as fuck. It almost makes me think of Strvngers in the nu-metal fashion that the vocals brood and emote over the bouncing groove of the churning verses. Rooted in the 90s dance floor darkwave, there is a tinge of Nine Inch Nails to "Lower Nature". To their credit, they are writing songs and not just giving you bangers to dance to. The vocals hold tortured tension not unlike Johnathan Davis here. "Negative Training" is less aggressive and contemplates its motives. The vocals smooth out in order to do this. 

"This All Hurts" is an interesting blend of futuristic dark wave synths bringing the grooves while the vocals get more confrontational. Oddly alluring despite not being hooky in the conventional sense. There is more of a Pretty Hate Machine bounce clashing with the sneer and bark of the vocals. "Full of Swords" sounds more like it came from the late 80s. The vocals are anchored in post-90s dystopia. Things get darker for "No Love Lost,"  though the vocals are shouted in a Wax Trax manner. It's pretty legit, rivet head industrial even without guitars. 

Legit as it might be, this deep into the album, you begin to reflect on the fact that the wheel is not being reinvented here; the parts are just being assembled in a less-than-expected fashion. The sampled sounds are very true to where this came from on "Up In Smoke," but I begin to want more in the way of dynamics, so thankfully, the vocals switch it up a little. The title track that closes the album sounds as if Korn wrote an industrial ballad. I will round this one down to a 9, as it makes gripping dark music that becomes more familiar in the third act but feels legit and works well to capture this era of industry with a twist. 

pst498