Some of it hasn’t aged well, but Under Midnight’s earnestness and ambition are still worth noting, even after nearly three decades.

Mortal was the first band that showed me that Christian bands could hold their own with secular artists.

When I was in high school, I once used this album to scare the little kids in my church.

While certainly not everyone’s cup of tea, I consider this one of 2017’s most fascinating and compelling albums.

This is the sound of musical equipment being tortured and pushed to its limits until the envelope isn’t just breached, but rather, punctured, shredded, and burnt to a crisp by the exit velocity.

A mix of ambient and industrial that sounds interesting at times but never really comes together.

A very good look at where the Christian industrial scene had its gestation.

Derek Rush and crew do a good job of keeping the atmosphere tense without ramming it down your throat.

There were plenty of moments where Violence & Technology became a rather invigorating listen.

A fascinating study in electronic music that takes clichéd sounds in new, interesting directions.

Flux is a beautiful, dark mixture of industrial electronica.

An awesome noise/experimental offering.

Integrates industrial elements into a high voltage, easily recognizable Seattle modern rock sound.

Anyone who considers themselves a fan of World Serpent, Projekt, Cold Meat, or other similar labels would do themselves well to find a copy.

Remarkably pleasant to the ears, even at its harshest, while still delivering a challenging and unpredictable listen.

Of all the “industrial” albums I’ve bought, this one’s held the most interest for me, simply because it’s so different.

At times, the music almost reaches a religious frenzy, while at other times, it becomes a stately procession, full of dignity and grace.

Stirring in its honest majesty, terrifying in its cold, stark savagery.

This falls into the “goth” and “industrial” categories but does so while circumventing many of those genres’ pitfalls.