qip - On Ephemeral Substrates (2015)

   Qip was a one man industrial project that intended to mix metal with electronic music. It always have been an unthankful task, especially if the metal part was pushed forward to death metal elements like in this case. Death metal audiences will hate it, while for the fans of electronic music and industrial it will be too noisy, too metal. It's enough to think about the not so many experiments of the '90s, to less successful tryings like Meathook Seed or Soulstorm, or to unique and awesome ones like Dead World, or Skin Chamber. The common thing about all of them is that these names are nearly completely forgotten and even back then they have been barely known.
   However, qip gave another alternative for similar experiments by involving the modern sound and diversity of electronic music of the '10s. In comparison, while most similar projects of the '90s (and even later, like in case of the worthily forgotten The Berzerker from Australia) seemed to have kinda limited knowledge and skills for electronic music. Back then the musical minimalism as a trending direction by industrial could have been a good reason for that, but it's not always convincing by looking at the less metal related industrial projects of the '90s. Meanwhile qip successfully crossed that barrier with ease by a wide range of atmospheric and electronic sound effects. Basically the album is way more diverse than most electronic music projects. The analogy of death metal features becoming strongly restricted for the favour of electronic elements still exists in this form too, and for this even less electronic involvement was enough too back then in the '90s. So as an industrial death metal album "On Ephemeral Substrates" falls into the same trap like its predecessors, though as melodic death it could still work at some point. But as an industrial metal album it's able to give a new, unique perspective, that could be easily distinguished from other similar bands and projects. 

Marilyn Manson - The Pale Emperor (2015)

   Officially the 2003 released "The Golden Age of Grotesque" was Marilyn Manson's last commercially successful album and the band have been at their peak of success being played as frequently as never before (though it was pretty much a forgettable album). Over a decade long silence came after that basically wasn't silent, since 3 albums came out meanwhile, only they've been completely inostensible. And unexpectedly Marilyn Manson have returned with "The Pale Emperor", a record, that brought back exactly that kind of music what used to make people liking their music so much. However, a few things have been changed meanwhile in general.
   Even though the music was able to bring back what so many have been waiting for, and the album also included the same spirit, that insulted every good hypochristian American back then, Mr. Manson didn't become a common scapegoat like how he used to be back then (which also meant no free commercial). The world has changed meanwhile. Rough social criticism didn't reach people's unjustified oversensitivity in the mid '10s like 15 years ago, such as Mr. Manson's androgynous appearance. First the emo subculture, later the rainbow cult turned the whole thing as a trend, therefore the shock rock factor didn't work like before, and this definitely had effect on the sales. However "The Pale Emperor" was able to reach the quality that was long lost after "Holy Wood" by including plenty of catchy songs that are both reflecting some actual and plenty of good old features. The band's darker, more ominous tone with raw social criticism wasn't new, but long time missing, and its return proved to be the best step that the band have made in the past 15 years. It worked well even being combined with the softer and more chilling tone, that have been completely usual during the forgettable period. This way the music became catchy, easy to go into and a bit more diverse too, though diversity in Mr. Manson's music was never a sensible factor during exact albums. Probably the endeavours of creating unified sound have been responsible for the homogeneity of each Marilyn Manson album. For most old fans "The Pale Emperor" finally wasn't disappointing and could have been nostalgic too, cause it recalled the feeling why they've become Marilyn Manson fans back then.

Atomic - Separate Races (2018)

   Atomic debuted as one of the most updated Hungarian metal bands in the early '90s, and their quite updated approach led them to switch style and record an industrial metal album in 1996.
   Even though their full-lenght debut "Slashing Victory" was quite uncomparable in quality to anything that have been released in Hungary in the '90s, the band was badly underrated, and they have split-up, so "Seperate Races" wasn't released until 2018. The album's main influences followed the changing tendencies of the middle '90s, when most metal bands tried various ways to renew their style. Industrial metal started to rise from the early '90s thanks to bands like Nine Inch Nails, Ministry or Fear Factory, and even some previusly way heavier bands like Sepultura drifted closer to these tendencies. For most old fans the mix of metal and industrial was kind of controversial, and similar style switches didn't seem to be the most fortunate steps. However, Atomic did something extraordinary again by this switch, since nothing similar could have been heard in the Hungarian scene even since now, and again the quality of their music matched to the standards of the international level. In it's local scene "Separate Races" was ahead of it's time again, maybe even more than the band's debut was. The themes are catchy and enjoyable even in their repetitive form, and to the heavy sound factory production noises are assisting, to increase the cold, unfiendly impression. All the key features of industrial metal were applied in the most advantageous way, and if it's about '90s industrial, "Seperate Races" could be compared only to the best albums that have been made in this style. In general the album is intense, and despite it's cold impression, it also shows some party compatibe aspect. Atomic's approach was quite genuine, and it's easy to distingush them from all other well known intustrial metal bands and projects.

More information about the band:

https://www.facebook.com/atomicthrashband

Black Pestilence - Tradition is Obsolete (2011)

 If Black Pestilence did something unusually weird by their debut, than with their returning album they successfully exceeded that. And it also couldn't be determined as some "let's just stay at the good old recipe, since that worked out last time too" thing, cause they tried to introduce their twisted perspective from another way. 
   As the title already suspects, they drifted further from the traditional sound of black metal, and on this album blackened themes also had smaller role. Instead the mix of punk and noise based industrial-like insanity was put into focus. As the atmosphere used to take quite noteable background role in classic black metal mainly as the side effect of poor sound quality, the same background role black metal influences had on "Tradition is Obsolete". Also it took the frequently returning framing role that punk themes had on "Vice". Even though the debut was everything but chilling, this switch made the second album somehow even more intense. For this feeling probably the lack of blackened sound could be judged for that, as the intense bass lines was led to hear, and also the audience friendlier punk basics had bigger chance to prevail. This more melodic and kind of simplified approach might be easier to go into, but only until the industrial noise sets on. That sometimes recalls the cheeping-beeping sounds of ancient nintendo or tetris games, and sometimes reminds to a rightfully forgotten remix of some terrible '90s europop song. And the chaos lets loose again. Interestingly the same features are giving the reasons why this music is easy to go into and why it's not. Even though the punk-black metal elements reminding to Barbatos somehow; after listening to "Tradition is Obsolete", the commonly shared theory that makes Japanese responsible for the creation of the sickest productions, might needs deeper reconsideration.

Arditi - Omne Ensis Impera (2008)

   Arditi is a marching industrial project close to ambient with neoclassical elements, made by black metal musicians. It's kind of an unusal and less popular aspect of industrial, but interesting and expressive at the other hand.
   "Omne Ensis Impera" summons the atmosphere of world wars, and would fit as background music for the short propaganda films of those times, which were played in cinemas. Of course those were made to manipulate and to make people believe that everything happens for a good reason and goes in the best possible direction. But the deeply obscure and demoralizing effect of this music would fit better to illustrate what actually happenned. People living in poverty, constant fear, and forced mass production for keeping up the war that seems like will never end. But must keep on going to gain victory, no matter the cost. A mass insanity led by state propaganda, that takes millions of sacrifices to achieve something that the leading elite believes being authorized for. Arditi's instrumental music gives back this feeling better than any other world war related concept. The neoclassical parts recalling the times that have been passed, the cutten narrative details are sounding exactly like the radio and cinema news and reports about the ongoing war, and the industrial basics are dictating the beats for marching. It's a forced march already, there's no way back from this point. For all of this came a very dark tone that leaves no doubts about the inevitable unfortunate outcome.

Cyanotic - Transhuman 2.0 (2007)

   After the spectacular uprise of industrial music by mixed up with metal incluences in the '90s, there was a longer silence until the genre took a piece again from the actual main scene. This return included modern influences of electronic music, that had some refreshing effect on the genre.
    Cyanotic debuted with the EP "Mutual Bonding Through Violation", and it was one of the earliest bands who gave a taste of this new sound. On the side of the traditional industrial metal features drum n bass and EBM influences showed up, and their music refers to bands like Skinny Puppy, Front Line Assembly, and 16 Volt. The EP was very stunning, but their aggressive and cold sound materialized with full power on the first full-lenght album "Transhuman", that lately had an extended release ("Transhuman 2.0") with remix songs. It's definitely something far different than what '90s industrial was. Less compatible for both metal or electronic music fans, even though there was stronger focus on the electronic influences. It just wasn't the way how to invite people on the dancefloor. Skinny Puppy 2 decades earlier and industrial metal 1 decade earlier wasn't either, but this was even a way further. This style showed less propensity for compromises too, even if it counted as something very actual and modern in the '00s, and therefore it was able to gather smaller audience too. This was another way of the extreme development of electronic music, but this time with less metal assistance.

Inseason - Code of Fate (2005)

   Even though the mix of industrial and extreme styles was nothing new, it always counts as something extraordinary. Not only because it's a rare thing to experiment with, but also because the list of bands who did it right is quite short. Not to mention that the audience of industrial and extreme genres are rarely opened to such experiments.
   "Code of Fate" was the second EP of Inseason, a short lived band, who was able to create something unique by accomplishing their bold idea to mix industrial with death metal. With melodic death in their case, bacause pure death is hard to combine with electronic music on the necessary level of intensiveness without becoming unenjoyable, hilarious, or losing too much from it's death metal features. But by invloving more melodies the idea was reasonable and managable the same time, so the style selection was wise. Except a few big names it seemed like industrial was forced into background since the mid '90s, so to hear modern electronic music features might be strange. But in truth the style just took another direction, further from being metal-compatible, and not many tried to use up it's new form. The other industrial influenced styles like nu metal stayed at the '90s, and older bands also didn't try to keep up with the new tendencies. These modern electronic influences gave a dark and cold impression to Ineason's music and they found the way how to involve their simple and repetitive guitar themes. By growling female vocals was their genuine style completed. Though the start was very promising, the band unfortunately disappeared without writing metal history. 

Nine Inch Nails - With Teeth (2005)

    The other fact about Nine Inch Nails on the side that they showed up always with something completely different than before is: they didn't do that so often. Even though the project exists since the late '80s, "With Teeth" was only the 4th full-lenght NIN album.
   6 Years have been passed since "The Fragile". Many things could happen during such a long time, and they did happen too. Mr. Reznor was quit from drugs and his heavily self-destructive lifestyle, so it's not a wonder that "With Teeth" is like an awakening with terrible hungover after a long night. The album sounds surprisingly clear and balanced compared to the earlier NIN records. The constant rebelling and dark tone was vanished and by being quit from self-destruction, it's side-effects (like depression and self-hate) were gone too. Of course it's still not compatible with the charts and a red carpe diem stamp also wouldn't fit on the cover. On the side of the lyrics still there are noises to find that are transmitting negative impulses and telling about further inner struggles. They appear only in a less frustrated level than before, and they seem to calm down after they've got out instead of keeping the main feeling aggressive. Since NIN reached some cultic status after "The Downward Spiral" and "The Fragile" was like oil on fire, the fans probably expected something world changing from the return. "With Teeth" was definitely not what they awaited for, but showed a new direction instead. Still, everything that was impressive about NIN showed up on this album again for the last time in a shranked, lighter version.

Interlock - Crisis/./Reinvention (2005)

   The one and only full-lenght album of Interlock sounds like a band's attempt to jump right into the middle of the elite of the '00s mainstream metal scene. They did that by following a recipe from the imaginary book of "How to become fancy now". The problem could be that it's mostly too late when similar recipes are able to manifest, cause the main musical scene takes another direction meanwhile.
   Interlock was different from anything that could be heard in the British scene. They didn't involve any local traditional influences, but to copy the actual American trends is also a very common alternative way there (mostly at less known bands). They mixed industrial with metal, but in a genuine way. The prints of the classical '80s and '90s industrial appearing only occasionally, they preferred to operate with the new, modern direction of the genre that is opened to a wider range of electronic music. It might be hard to distinguish the metal styles they involved. The strong nu metal influences are evident, but to express heavier depths, more aggressive features could be heard, like melodic death, but they were not afraid from blast beasts either. The vocals are showing the same diversity by male and female vocals the same time, clear singing and growling by both. "Crisis/./Reinvention" is like a bag of collection of everything that could have worked that time to spark wide interest. That's why the approach of the songs was various too, once melodic, than rageful, once emotional like a ballad, than dark and cold. Despite that they did their best to show the widest possible diversity and they did it in high quality, things have been changed in the music scene, and the imaginay recipe too with it. But Interlock's music still remained as an interesting alternative of industrial metal. 

Rammstein - Mutter (2001)

   Even though the official language of the international music scene have to be English, there are some fortunate exceptions when this rule gets ignored. Rammstein gained wider success with their second album "Sehnsucht", and by "Mutter" their music became the essential part of the metal for beginners basic pack.
    Their main influences could be found in the uprising German industrial scene of the early '90s. Their musical and lyrical features referring back to Oomph! so many times, that it's impossible to not name them as their main influence. This is the origin of their mix of raw sound, short but effective lyrics, and sometimes hidden, sometimes direct sexual background. Rammstein just developed it further and formed to their heavier taste. The reason why they took place between the most known and best selling metal bands is their genuine combination of simplicity and heaviness. Simple but heavy and repetitive themes, simple but expressive message, and Herr Lindemann's characteristic vocal style that became an icon. So their music included a little bit of everything from the main features of the style. From martial industrial, from the party centered style of the underground dancefloors, and even from the darker, horror related direction. They were also not afraid to involve instruments and influences that were not usual to hear in industrial music. In this way "Mutter" was more diverse and progressed than the second album. The band gave a new shade to the main industrial metal scene and bacame one of it's most influental bands.

Anaal Nathrakh - The Codex Necro (2001)

   Anaal Nathrakh gained wider attention fast by their interesting sound and experiment to give a new tone to musical extremity.
   There were plenty of experiments before to mix industrial with death metal, but in most cases the electronic music influences had to replace some of the features (like the extreme speed or noisy sound) to be able to prevail, and turned the music more melodic. Anaal Nathrakh tried the opposite, to increase the speed and turn everything noisier. A few bands (like The Berzerker for instance) tried this path too, but they didn't really succeed by speeding up the most primitive electronic sound and simply pasting it into death metal. Anaal Nathrakh payed more attention to find some balance for the sound (in the chaos), they tried to industrialize the that time newly spreading black metal. The basic sound of black metal had a fusion with raw industrial noise and the intensity they pulled up to the level of grindcore. In this form it worked and first of all the fortunate the style selection was responsible for their success. The industrial noise they experimented with didn't only fit well to the atmospheric black melodies, but also increased the level of insanity exaggeratedly. However this style also wasn't able to open new perspectives for extreme music, others who also tried this mix were not so lucky.

Static-X - Machine (2001)

   While "Wisconsin Death Trip" had an unexpectedly great success that suddenly brought  Static-X on the track, their returning album "Machine" opened the international breakthrough for them. 

   Similar to other nu metal bands, their second record intended not only to exceed their previous success, but also to extend the borders of the style by a heavier tone than before. And since nu metal had it's basic mainstream limitations, it wasn't too difficult achieve that. The "Machine" had a wider perspective of impressions than the debut, and this extension went into a darker direction. Maybe the biggest advantage of Static-X's industrial influenced style was that the mix of metal and electronic music used to be a controversial thing, and even though the '90s industrial wave paved the road before similar bands and projects, this path was only chosen by metal bands. Electronic music projects kept staying on the "happy side", and except a very few dark ambient and industrial bands, others just didn't dare to take directly dark or depressive directions. Static-X used to call their music as "evil disco music" and by involving so wide range of electronic features and elements, this could sound accurate. Even after '90s industrial there have been still many possibilities and aspects to try and to introduce, and even Static-X just took a narrow slice for themselves. But this was enough to determine their own style and become one of the most successful bands of the genre.

Marilyn Manson - Holy Wood (In the Shadow of the Walley of Death) (2000)

   "Holy Wood" was probably the heaviest, most and most successful Marilyn Manson album, that finally gave the missing strong character to the main concept of the band.
   Many things happenend since "The Portrait of an American Family". They tried a way similar to Nine Inch Nails, to change their style on each album; their name became more and more notorious mostly because of their heavy social criticism, that wasn't welcome by those who they referred to; and Mr. Manson personally was blamed by the social media as a scapegoat for murders committed by teens, that is unfortunately counts as everyday crimes in America. Even though the album officially counts as the first part of an album triology, counted from backwards to make things even more complicated, there isn't much sense in the whole thing, except if most songs of "Mechanical Animals" and "Holy Wood" were written the same time when they made "Antichrist Superstar". The musical and songwriting progression develops with time and there are plenty of influences that are having effect on the musicians with time. The album itself had a quite complex concept in general, that draws a parallel between the American gun culture, the harmful influences of social media, religious obsession, martyrdom, and the birth of Adam Kadmon. And of course the indispensable compromise-less social criticism. The main consequences are the same way tragic as heavy. By "Holy Wood" the band reached the top of their limits too, as musically it was their most mature album, and had a strong influence on the main metal scene too.

Static-X - Wisconsin Death Trip (1999)

   A fun fact and a returning feature was among nu metal bands whose style was more characteristic than most others of their coetaneouses, that neither their fans or themselves described their music as nu metal. It was the same about Slipknot, System of A Down, and Static-X too. But unfortunately for them, nu metal wasn't a too unified style, that might made a bit difficult to determine rules or certain features that could have been returning at all bands who played this style. Since hip-hop, alternative rock, death metal or like in case of Static-X, industrial style features could have been responsible for the diversity of the genre, the common ground should be looked for from a bit different (an less specific) perspective. Nu metal had to be: 

1. easy to go into, therefore 

2. simplicity had to be it's most determining feature both in themes and song structures,

3. must have been able to show something new and unusual for the genre, but since it wasn't possible anymore, they had to mix up metal with other styles, 

4. it should have been able to address young audience, so simpler topics and everyday's life problems were in focus instead of horror, gore, fantasy or complex, philosophical topics, and last but not least

5. it should have been ready to compromise to be able to build up a brand.. since the style was business oriented from the very beginning. 

   By this approach not even Static-X could slip out from the nu metal stigma, though their style was definitely stronger influenced by industrial, than any other nu metal bands. On their debut the features of '90s industrial waving back, but their music was on a different level already. At one hand it was audience friendlier, but still more diverse than most '90s industrial projects. For this diversity the wider scale of metal elements have been responsible on the side of the more diverse vocal performances. This quality had refreshing effect not only for the incredible amount of new fans who have been gathered by nu metal, but also in industrial music. This combination immediately emerged Static-X to the most successful bands of the genre.

Avulsed - Cybergore (1998)

   Sometimes there are interesting experiments to find in the extreme scene, that are recieving the coldest welcome from the audience. The same happenned with "Cybergore" by Avulsed, that was probably a fun made remix version of their full-lenght debut "Eminence in Purtescence".
   It's kind of enjoyable to read the desperately negative reviews about the album, that didn't meant to take seriously. It's more like a metal parody, that was committed by involving techno, drum & bass and other electronic music genres to the death metal basics. The result is something that's close to an alternative aspect of industrial death metal, and from that point of view, the album could be interesting. Especially since in similar cases the death metal features are losing from their importance and getting left behind to leave some ground for the electronic influences to evolve, and therefore the whole thing turns too melodic. The advantage of this case is that by a mix there's no chance to conform, everything's there in it's raw form cutten together. So it's one of the closest versions that could fit to the term of industrial death metal. Deep growls haven't been heard yet in this form, and Dave Rotten's voice is kind of appreciating as it's interrupting the hyperspace techno drug levitation. The song title changes ("Powdered Fish" or "Addicted to Red Bull") are making the whole thing funnier. Unfortunately not many have discovered the possibilities that have been accidentally revealed by this fun-made experiment, and "Cybergore" took place on the imaginary wall of shame at most metal fans. But for those who are opened for industrial metal, the album is definitely is worth for a listen.

16 Volt - SuperCoolNothing (1998)

    16 Volt developed a lot during the years. The strongly '80s influenced industrial group was able to keep up with the changes that happenned in the main scene meanwhile and by "SuperCoolNothing" they showed up with a way different, modern and high quality sound.
   The ability to keep up like that is common at the biggest names mostly, but somehow 16 Volt remained underrated, though similar big changes are always extraordinary. Their music became more diverse by pushing their limits into two opposite directions: to sound more aggressive by some songs than before, and to reach a relaxing radio-compatible level by others. Both ways were quite effective and could make the listener to wonder, are these sudden mood swings are the results of taking their happy pills? However the lyrics having a very personal touch and a little bit darker tone by their expected inner struggles. It's not the cold type of industrial that introduces a mechanical world with it's termite-like people or organic machines, so musically "SuperCoolNothing" showed a brighter picture than other, more popular projects that time. Melancholic but relaxing, wild but audio-friendlier, rebelling but also looking for some common ground. This album was more worthy than others amongst it's coetaneouses to be treated like a masterpeace, mainly beacuse it's able to wake up wide range of emotions in the listener.

Dead World - Thanatos Descends (1996)

   "Thanatos Descends" by Dead World would be the heaviest industrial metal album of all time if... if it would be a full album, and without the experimental music noises.
   Even though in lenght it's a full-lenght record for sure, the five noise tracks were not made by Dead World, and they doesn't really fit to strongly death metal influenced rest of the album. Or it's like a full-lenght split album with mixed up songs. Their purpose was maybe to create contrast, but it didn't work out so good, and sounding like time fillers only.  The listener may stay unsatisfied because of the lower amount of heaviness, especially because Dead World reached it's maximum in sound compared to the previous albums. "Thanatos Descends" is noisier and very harsh. And similar to "The Machine", it seems like to sound very intense is not up to the speed, songs never getting faster than slow/mid speed, but still they are very effective and catchy. This is one of the most evident Godflesh influences, and from the plenty of their followers, Dead World operated with the speed the best way. The role of industrial influences decreased from the songs, but these seemed like to concentrate in the "Thanatos" titled noise tracks. In too high concentration unfortunately. But there are 4 songs at least which are far closer to define industrial death metal, than any previous tryings before, including even Meathook Seed or Soulstorm.

Filter - Short Bus (1995)

   Both the founding members of Filter (Richard Patrick and Brian Liesegang) have worked with Trent Reznor, but since in Nine Inch Nails they didn't have any creative role, they have started to work together in their own band.
  Filter was musically influenced by the 2 most determining mainstream musical directions of the early '90s: industrial rock and grunge. For the first probably their past in Nine Inch Nails could be also found responsible. 16 Volt's second album was made by the same recipe, so it wasn't a so genuine thing that time. The interesting thing in their music (that also makes it different from other similar bands) is that even though it was a high quality production, it lacks passion and deep/serious approach. They may sound heavy sometimes, Mr. Patrick enjoys to shout too, but nothing else. There's no real emotional, intense, rebelling or aggressive breakthrough, they prefer to stay behind a line that they've never crossed. Somehow the disturbance that should be expected from a basically disturbed style is missing. It's partly because of grunge, cause it always preferred to keep stagnating in some powereless state all the time, and probably English rock bands (like Oasis or Blur) also had some influence on their music, since they are famous about playing so intense that almost makes them falling asleep even on the stage. That style and tone had a quite large audience, so it's not surprising that the band's debut was a great success. And they've showed a different aspect of the actually modern musical tendencies, that haven't been so widespread yet in the US that time.

Marilyn Manson - Portrait of an American Family (1994)

    As the world seemed to speed up and turned more violent since the '80s, the common ways of entertaining became more exaggerated too. The mainstream metal scene also felt the need of some update and scandalous backup. The debut of Marilyn Manson meant a new kind of shock rock therapy for the metal audience.
   Their concept was very complex, based on social criticism by flashing onto the paradoxes that are coexisting together in the American society. Religious obsesson and perversions, conservative values and abortion, sex symbols and serial killers, drug abuse, pornography and entertainment industry, Christian cults and satanism just to mention some pairings that are continously referring back to the triangle of fear, sex and violence. And the whole thing had sarcastic, ironic performance that wasn't completely clear for everyone, so for people who had lack of common sense, or felt insulted by discovering themselves in the lyrics, Marilyn Manson was the new boogie man. For the band the concept seemed to be always more important than the music, so diversity and musical maximalism was never their strongest point. "Portait of an American Family" was a twisted mix of the that time conquering grunge and industrial metal waves. The support of Trent Reznor formed a lot on their musical progress. However the band was able to get the attetion they were looking for. And Mr. Manson could have call himself lucky too, because his huge audience seemed to be well updated in societal problems and competent enough to understand the complex concept he created, not only fascinated by his visual appearence and performance.
Yeah, that was sarcasm too...

Soulstorm - From Euphoria to Paranioa (1994)

   Soulstorm debuted as a strongly Godflesh influenced industrial metal band with the ambition to play this style heavier than others do.
   So they tried to mix industrial with death metal. These two genres aren't easy to combine, mostly because the specific metal subgenre features are fading or disappearing by the simple, but strict repetitive themes that are compulsory industrial features. The results were similar like at Meathook Seed, the diversity and the noisy, intense sound gave the main difference in total. The death metal influences are sometimes there, sometimes gone and than a more melodic side is showing up. "From Euphoria to Paranoia" was a large step after the very raw first album. The typical Godflesh references got left behind (like the mid speed bumping the artificially distorted vocals) and their music became more complex, included catchier themes and had progression in sound too. Industrial may softened the general effect of the album, but it didn't made it much friendlier. It's a less known, but intersting classic of metal influenced electronic musickness.