I toyed with the idea of a post celebrating Europe last summer around the referendum vote, but frankly, I was too damned down about the whole thing to even consider it. Debate has raged, of course, in the press, in person, on social media, just about everywhere, and there is certainly no doubt that the country is probably even further away from consensus than it ever was. Read more “Tuesday Ten: 289: European Me”
About eighteen years ago, while I was still reading Geography at King’s College London, the subject of my dissertation proposal came up. Read more “Tuesday Ten: 278: Camden Town”
Part four of my monthly rundown this year of tracks from 1996 that broadly, I still love now.
Read more “Tuesday Ten: 260: Tracks of the Month (May 1996)”
Last week actually marked a significant milestone in my music fandom – 20-July was exactly twenty years since I first attended a live, professionally promoted gig. That first show, by the way, was the (free) Heineken Festival in Roundhay Park, Leeds – I went to two days of it. The Thursday night I saw Back to the Planet, Pop Will Eat Itself and Siouxsie and the Banshees, while Saturday included 60ft Dolls, Salad, Skunk Anansie, Sleeper, Menswe@r and a spectacular headlining set from Pulp (just weeks after their legendary “stand-in” set at Glastonbury that made them stars at last). Read more “Tuesday Ten: 235: Twenty Years of Gigs”
A new section where I look back at albums in my past. They may be great albums, they may be albums that haven't stood the test of time. But these are albums I bought and loved at one point, and maybe haven't listened to much in the meantime. More importantly, this is a way of giving some airtime to bands or albums that maybe I've not covered much in recent times, and also, there is some element of the personal to this, too – many of these albums have been cherished by me at one point or another, having memories and experiences attached to them, and I'd like to celebrate that link too. So more than anything, perhaps expect more in-depth writeups in this section than I might otherwise do.
In a time where inequality is rising faster than in a long while, austerity is all the rage (despite the warnings that this is only making things worse), and the various results of the Euro crisis, to mention but a few things, I’d perhaps expect a rise in political comment from music or even comedy, but apparently not, with a few exceptions. So here are ten artists who over time have made a stand, and commented (or advocated direct action in one way or another) on the political world they saw. Read more “Tuesday Ten: 181: Fight The Power”
So…I’ve looked at the best gigs, live venues, and gigs at the London Astoria, bands at Infest, bands I’ve *not* seen live…but I’ve never had a look at live albums, somehow, as my girlfriend pointed out last week. Read more “Tuesday Ten: 174: Live Albums”
For my first Tuesday Ten proper in about two months, I’m looking at guest appearances. I thought I had covered this before, but somehow it appears that I haven’t. Anyway – guest appearances are either used a little cynically (to get the guest artist more exposure, or even to get the other artist more “credibility” by a certain guest appearing), or simply because it’s a good musical fit. I’m hoping that most of this list at least is the latter. Other suggestions for ones that I’ve missed are welcome. Read more “Tuesday Ten: 119: Also Featuring…”
Ideas for future Tuesday Tens are coming thick and fast at the moment, and indeed I have the core of two more already completed too, and this week’s was a late change of plan, mainly after I realised just how many songs could be included. So the other two I have planned will be held off until into August. Read more “Tuesday Ten: 080: Swearing”
The 90s were a heyday for industrial metal – let’s be honest, few bands have been able to continue a high quality output of this style into this decade, and fewer more recent bands still have been able to keep the flame alive (with notable exceptions being the likes of Interlock and Cyanotic). To confirm what I mean by industrial metal – lots of industrial electronics, and lots of metal guitars and rhythms. Exactly how bands have interpreted this – and how they have balanced the two – is what makes this genre so fascinating.
Bands that I didn’t include in the final, umm, twelve (I couldn’t squeeze everyone in…): The Young Gods / KMFDM / Strapping Young Lad / Dope / Rammstein…Other suggestions welcome, of course, and the usual playlists cover as much as possible. So, here goes.
Snap Your Fingers, Snap Your Neck
Let’s start with the monster that began this list in the first place. An, oddly enough, probably the most “metal” of all of the tracks here. Prong started out as a metal band, and gradually added more electronics and industrial textures as they went along, but Cleansing remains their brutal tour de force – the opening three tracks in particular are absolutely bulletproof, of which this longstanding metal dancefloor anthem is the third. The electronics are relegated to the background, but the mechanised rhythm is stripped to it’s bones and overlaid with an awesomely clean guitar riff. Add to that the roared chorus, and really, this track still deserves to be heard.
Kiss Your Boots
Misery Loves Co.
Starting out deceptively quietly – the first verse is all but whispered above a pulsing heartbeat, before Patrik Wiren bellows the title one more title and the hulking beat tramples through the speakers like a stampede of very large mammals. At least four remixes of this track exist (the Pitchshifter ones in particular are worth hearing), but for me it’s the original every time – this track sounds monstrous loud, and even better on a club PA.
Speaking of Pitchshifter, before they went a little more punk and, perhaps, a little more mainstream – even so, www.pitchshifter.com rightly remains a landmark album from that period – they were a grinding industrial metal band that had a lot of power, a lot of rage, and not a lot of metal-mainstream appeal. The first sign that this was changing was this brutal anti-fascist single that got them a lot of attention at the time (and indeed was the first song I heard by them, on John Peel’s late-evening show on Radio 1). I’ve seen them fifteen times since the mid-90s, and they’ve only failed to play it once or twice – pretty much the only song they play from this period any more, which is a crying shame as there a number of other killer tracks from this time. Still, altogether now: “Like Never/Like No…”
I’m cheating a little here, seeing as this track was actually released on Godflesh’s debut album in mid-89 – however the band were such a titanic influence on the entire industrial metal genre that this deserves it’s place here. Slower and most likely heavier than just about anything else here, Like Rats grinds it’s way through nearly five minutes of densely-layered beats, riffs and a filthy, pulsing bassline that anchors the whole track. Justin Broadrick’s heavily-treated vocals – which sound truly fucking evil – just add to the oppressive atmosphere.
The Land of Rape and Honey
Even earlier – from 1988 – but also here due to it’s enormous influence, is this, the opening track from the album where Ministry suddenly turned very heavy indeed and set the template for twenty years more of industrial metal. It’s distorted, heavy, and fucking ace. If, somehow, you’ve never really listened to Ministry, you could do worse than starting here.
I think we have Metallica, of all people, to thank for the style of Die Krupps’ 90s output – in the 80s one of the early EBM acts, following the release of a tribute EP covering Metallica songs, suddenly covered their already muscular sound in guitars. Which is where I discovered them, and have been a fan ever since. This track – one of their more anthemic tracks, really – was also one of the (many) highlights of their live set when they played in Sheffield a year or two back.
Another band who took on guitars to their mainly electronic sound were these guys, and the change caused something of a split with the fans at the time, although in hindsight Millenium remains one of FLA’s best albums (and the first two tracks – Vigilante and the title track – have been fixtures of live sets ever since they were released). The guitars didn’t remove anything from FLA’s power – in fact they provided something of a turbo boost, and again became immensely influential.
Self Immolation (Vein Tap Mix)
Fear Is The Mindkiller
Nowhere was FLA’s influence (although from before Millenium!) more clear in the metal scene than with Fear Factory in the early 90s, after they hired Rhys Fulber from FLA to remix some of the tracks from their debut, death-metal-based Soul Of A New Machine, the result of which was this EP, a vicious, industrial-death-metal hybrid that sounded like no-one else at the time and sounded fucking immense. An extraordinarily brave experiment at the time, it remains an intriguing stepping stone towards the all-but-perfection of following album Demanufacture, and I’ll probably find people disagreeing with my choice of track from this EP (in all honesty I could have picked anything from it). I do wonder how much the work on this influenced Fulber in his work on Millenium, actually…
More Human Than Human
Astro Creep: 2000 – Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head
While Rob Zombie achieved greater success with his solo work, he has never bettered his work with White Zombie, and in particular the sample-and-electronics-stuffed Astro Creep album. Every single gap is filled with whatever crass B-movie or pr0n samples Zombie could find, and they all add a twisted humour and sense of fun to many of the tracks. Of the, what, five, tracks that still fill metal dancefloors now, this is of course the best known, underpinned by the pulsing electronics and John Tempesta’s drum rhythms that sound like they are being beaten out with clubs.
Natural Born Killers OST
I could barely miss NiN from this list, really, seeing that they were probably the band that helped push the genre into the mainstream the most – even if Pretty Hate Machine is, in the main, electro as they come. It was with Broken that they really moved to being industrial metal – it’s seething fury overlaid with masses of guitars, which then got broken into jagged pieces for The Downward Spiral. Burn followed this as a seperate release on the Natural Born Killers soundtrack, and as such other than being played live frequently it’s otherwise a little forgotten – which is a shame, as it’s probably the heaviest track NIN ever wrote. Again, best played very loud indeed for the right results…
Cubanate were one of the earlier industrial bands to include guitars from the outset, and over four albums seemed to get heavier and heavier with each release, despite seemingly using less in the way of guitars! Nowhere was this clearer than on this brutal opener to their final album, a drum’n’bass monster with a bassline that could take down buildings (and you more feel as opposed to hear). I rarely dare to risk this when DJing nowadays – one, not many people know it, and two, I don’t want to scare all the kiddies away!
The final band – and twelfth, I know – are Kill II This. They were one of a number of bands that roared into life in the late 90s in the UK who were not afraid at all of using industrial electronics to bolster a chunky metal sound. Sometimes a little contrived – and sometimes not all that great (most of the first and last albums) – the two albums in between were ace, and live they were even better. Their crowning moment was this, the gabba intro morphing into a fast-paced moshpit filler that was pretty much as close as anyone got to matching the heights Fear Factory reached few years before.