
Godflesh Refuse to Go Gently on ‘Decay’
The end of Godflesh is nigh, but with their first album for Relapse Records, the alpha and omega of industrial metal refuse to go gently.

The end of Godflesh is nigh, but with their first album for Relapse Records, the alpha and omega of industrial metal refuse to go gently.

Throughout XXXXX, Arca balances her penchant for excess with a commitment to restraint. The cyborg, the biomechanoid, is now more human than a human.

Mortiis’ synthpop on his new LP pushes back against the industrial past. He is resurrecting an element that defined his most glorious dungeon-synth days.

Laibach’s Musick has its moments, but ultimately it’s a reminder that there is plenty of good pop music that skewers itself without being so belabored about it.

Canada’s electroclash provocateur Peaches is back with another daring polemic, No Lube So Rude, and reflects on her journey to it.

Swans’ Birthing isn’t so much music as a reaction against music—a disavowal of melody, pleasure, and your nervous system’s comfort threshold.
Haunted Horses get further under your skin, infecting and infesting you with their bleary, spectral plague of madness and maybe a slight spark of hope.
Two decades out from their wild debut, Xiu Xiu’s Jamie Stewart and Angela Seo reflect on their fans, band-free music videos, and uncompromising new LP.
Well into their fourth decade, industrial pioneers Einstürzende Neubauten continue to experiment and transform. Blixa Bargeld chats about their creative process.
Ben Frost, Australia’s premiere avant-garde composer, unleashes his first solo album in seven years by returning to the pitch-black metal he loves so dearly.
Nine Inch Nails’ Hesitation Marks creates an objective point for looking back with wiser eyes, showing that the way to a better life is to push through the past.
Throbbing Gristle’s dedication to nothing short of total war was not so much a declaration of war but a warning that endless war could become a state of being.