Laibach's "Let It Be" is utterly hilarious and wonderful. "I, Me, Mine", the idea of the world' richest musicians hectoring their fans about selfishness, perfectly skewered with verbatim lyrics by Laibach's delivery.

Actually, the pitch is perfectly fine, but bells inherently have an incredibly strong fifth and minor third harmonic that makes each individual bell act in the manner of a chord. So, play a melody by shifting sustaining chords around and you get melodic chaos.

How on earth is Daenerys going to feed her new army without utter ransacking everything in her path? I'm guessing her troops will gladly organise themselves into a hierarchy of the willingly cannibalised, but that may be a tad dark even for this show.

Broadrick was a huge fan of Swans, too.

I don't think there's anything wrong with the music that is called industrial metal (I love Godflesh), but I think it's more the terminology that irks fans of the earlier "proper" arty industrial music that it stole the limelight from. I think if it had just been called "dance metal", then we'd have all just happily…

My gothy, snobbish friends and I, fans of Neubauten and Test Dept., used to call the '90s metal-with-drum-machines sound "NINdustrial".

Interesting fact about the SR71, it heats up so much at high speed that the panels need gaps to expand, which means the plane leaks fuel while it's on the ground.

Siamese Dream was the first album I learned to play in its entirety (minus solos, because I'm a terrible guitarist).

I was 10 when I first heard Depeche Mode's Music for the Masses (in its year of release) as well as Scoundrel Days by a-ha. So hearing them now I still associate them with playing with Lego on my bedroom floor. I loved them and would secretly borrow my brother's tapes to play while he was out.

I'd actually go so far as to say that the best metal tends to be at least slightly tongue-in-cheek.

I don't get the dislike for Friday I'm in Love. I think it's an extremely pretty song, beautifully arranged and with a tinge of melancholy to make it tasty. There are few genuine pop songs that can compare.

Like Cockatoos is amazing.

It doesn't. Seek an older copy. I recommend Discogs.

I've heard that they still stretch A Forest over 20 minutes at some gigs.

It singlehandedly convinced me that perhaps I should try playing bass instead of guitar.

When people tell me that hot mastering is an "artistic choice", my immediate response is yes, a terrible one. I remember once playing a musician a Curve album and there was a big thundering boom as a song ended, much, much louder than the song, and he asked how they did that. I explained that they just recorded softer…

Wish is underrated. From the Edge of the Deep Green Sea is one of their best songs, and the poppier tracks are all up with their best poppier stuff.

Staring at the Sea is definitely the place to start, and you're right about Disintegration next. Hop to it.

I'd have put Faith. Faith is gloomy as anything but amazingly digestible. the all-bass Primary, loping Holy Hour, and exquisite All Cats Are Grey, Funeral Party and Other Voices are essential listening. Practically half the album is on  Staring at the Sea.

Another thing that goads me about the OP is that a story in which a "villain" is punished by their action is not a particularly good moral lesson. In reality, being evil is almost prerequisite for large-scale success. Everyone else is punished by evil, not the perpetrator.