I guess I wouldn't necessarily consider industrial a "super-genre" in the same way. But I see your point.

That's an interesting point - it was probably more thematically and sonically cohesive before, say, Al & his contemporaries tried to absorb elements of metal. And maybe before WaxTrax (always pegged as an "Industrial" label) started bringing glam elements in. Certainly the lineage from TG to 242 was pretty clear;…

Er, except that isn't exactly true, is it? While all those things were certainly *common* there were enough major outliers to muddy the waters.

The album version was a little odd, especially compared to the brilliant single.

Oh, I wasn't blaming them for sampling dialogue, just for all the terrible knockoff bands who thought "hey, FULL METAL JACKET! Yeah! Let's use that one! Because Ministry!" I still hear indie bands doing that *to this day*.

I always found it interesting that "Industrial" became such a catchall term for microgenres that had very little in common with each other beyond a certain affinity for black clothing and combat boots, and maybe a bit of the shared performance art history. Where else could you take something like Coil and lump it in…

Yes, yes and yes.

It's okay, provided you've ding a ding danged your dang a long ling long.

That was "Ebbhead."

OH MY GOD THAT'S AMAZING

Haujobb's "Solutions for a Small Planet" was kind of a masterpiece of that era. The lyrics were a bit silly (okay, a lot silly), but it was an interesting fusion of elements of EBM and IDM, jungle, and techno. It was basically a prototype for a rather exciting future for the genre.

Echogenetic is pretty darn good. But there was a period post-TNI that was wildly uneven. Especially after Fulber left. Bleeb had like 9000 side projects that all sounded kinda the same, a lot of post-"Silence" money and ego to burn, and far too many indecipherable lyrics about "hypoxia." And then there was that…

I would, however, LOVE to hear One Direction sing "the devil wants to fuck me in the back of his car."

It unfortunately started a terrible trend of thinking that sampling Full Metal Jacket was "edgy."

Of course the industrial that's benefiting is the old-school stuff - the classic acts from the WaxTrax! era, Skinny Puppy, Meat Beat Manifesto, etc. And a few of their younger, hipper followers like Zola Jesus (she's working with Jim Thirlwell, for pete's sake),Youth Code and all those bands that put symbols and…

Well, sure, but the timing is still funny.

Mostly that I can't stand her and am looking for any tenuous excuses to rag on her. And becasue I STILL don't know how many vietnamese soft rolls to order. WHY WON'T SHE TELL ME, THIPP? WHY?!?

Well, Neil's online presence wouldn't have become a steady stream of Amanda Palmer promotional retweets.

I loved her first album. I liked "Boys." Everything after that was a progressively more of a nondescript mess, IMHO, guilty of the same sort of "really deep thoughts" she derided others for. It kinda broke my heart.

She should've. It might've helped save us from Amanda Palmer.