Industrial music is pliable and can be bent to the will of whatever artist wields its power. Ministry made it a rock ‘n’ roll hot rod, Godflesh made it a religion, Fear Factory made it a metal mainstay, and so on and so forth. To me, the real success of industrial music is if it has the ability to paint a horrid, twisted landscape in the mind’s eye and offer an unsettling feeling to go with it. Over the course of the past decade and a cavalcade of releases, Lament Cityscape has sharpened their sound in such a way that it does exactly that on new album A Darker Discharge. Imagine being on the sidelines for world destruction then venturing out to witness twisted steel, crumbling facades, a populous decimated, and having the insurmountable feeling of what life will look like while knowing any sort of remaining life cycle will be short and probably impossible. Captivating is an understatement and the fact that mainman Mike McClatchey approaches this thing with body horror in mind makes it all the more terrifying. This is one of the best culminations of noise, sludge, and industrial metal to blaze through our ears in quite some time but also one of the most anchored to modern day atrocities as can be. We recently posed our set of Profile questions to Mike and below we present his responses. While you’re here, hit the links contained within to secure your own copy.Continue reading
Column: The Path To Paradise Begins In Hell – Industrial Metal
In last month’s column, I discussed my love for melodeath and how it got introduced to me by a dear friend of mine who continues to be a major part of my life to this day. Of course, with melodeath going into an interesting direction (trance elements?), we have to talk about one of the more fun yet confusing genres in the metal world.
Also, talking about this genre has made me realize just how damn angry I was back when I first discovered metal. No kid should have the sheer amount of pent-up rage that I did when I was 13/14. Of course, now at 24, my anger has simmered, but it’s still there, hiding underneath the niceties and the spite that seems to power the entire core of my being.
It’s time we talk about Industrial Metal. Continue reading
Best of 2017: Hera’s List – Woes of Research
We’re stoked to feature Hera Vidal, purveyor of all things heavy and writer/deep metal researcher for sites like Broken Amp and Metal Bandcamp here as a featured guest presenting her Top Albums of 2017. Hopefully we’ll see her pop up here again in 2018. Until then, take it away, Hera!
2017 was a fantastic year for metal. However, this means that I now have another pile of albums to look into that I probably missed. The struggle to keep up with releases is real, you guys.
Anyway, it’s list season!
Now, there is some criteria for me to decide my top albums of the year, and they usually revolve around one key factor: I have not written about them, whether they are planned drafts or have been published elsewhere. That means albums like E, Berdreyminn, and Codex Omega – which I enjoyed – and a bunch of black metal albums are not going to be on this list.
With that in mind, here is a list of 10 albums I enjoyed in 2017. If you think I missed one, please let me know via Twitter and/or any way you can get ahold of me. Continue reading
Album Review: american – “Violate and Control”
Black metal and noise have always been strange bedfellows. Both, after all, seek to test the boundaries of what would be considered “listenable” in various capacities. It stands to reason, then, that the combination of the two genres would be the ultimate essence of this desire to make the darkest and harshest music imaginable. Enter american, and their new album Violate and Control, which sees the band utilize these concepts to create something truly menacing. Continue reading
Album Review: Pain – “Coming Home”
I have been following the work of Peter Tägtgren for several years now, specifically in terms of Hypocrisy and the impressive line up of albums he’s produced. It wasn’t until a few years ago that I stepped away from the death metal that defined his career (at least to my awareness) and welcomed the electronic/industrial-based Pain into my library. While industrial metal is something I rarely find myself appreciating, there was something about the Pain approach that took to me. It was something catchy — as one may expect — but also offered a serious enough tonality to hold interest and avoid coming across as shallow or superficial. With Pain’s latest album, Coming Home, we get a dose of what has defined the Pain project over the years with subtle differences that allow it to distinguish itself. Continue reading