50 Best Industrial Songs of All Time
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Consequence’s Industrial Week rolls on with our staff list of the genre’s Top 50 songs. Keep checking back throughout the week for more lists, artist-driven content, premieres, essays, and more. Keep up with all of our Industrial Week content, including our Best Industrial Albums of All Time list, and check back for more lists, artist-curated features, essays, and more.
What makes a song “industrial?” It’s a question we’ve often pondered this past week at Consequence throughout our ongoing celebration of the genre. Harsh and liberal use of distortion; the implementation of electronics and synths alongside rock instrumentation; a generally subversive and bleak world outlook… all viable identifiers for what we would consider industrial music.
To go a step further: What makes an industrial song truly great? When compiling our ranking of the Top 50 industrial tracks of all-time, we not only looked for the aforementioned sonic descriptors, but also took into account exterior factors, namely the song’s influence and legacy in the grand scheme of the genre.
During industrial’s formative years, a song like Caberet Voltaire’s “Nag Nag Nag” and the work of Throbbing Gristle (i.e. “Hamburger Lady,” “Hot on the Heels of Love”) used post-punk and musique concrète as a launching point for more extreme sonic destinations. Meanwhile, iconoclastic act Einstürzende Neubauten sought to create a twisted form of dance music using whatever sounds available — power tools, machinery, oil drums, etc. — on songs like “Yü-Gung.”
These forerunners paved the way for acts like Nine Inch Nails and Ministry — the former’s “Head Like a Hole” and the latter’s “Stigmata” launching industrial music to mainstream prominence while spawning sub-genres such as industrial rock and industrial metal, where the likes of Rammstein and Rob Zombie would soon emerge. Consider the following list an exploration of industrial music in its myriad forms, from the early days and the earliest usage of the genre tag itself, up to the present, in a time when industrial’s post-modern proclivities ring as poignant as ever.
See our picks for the 50 Best Industrial Songs of All Time below, and view our other Industrial Week features here.
Jon Hadusek,
Senior Staff Writer
50. KMFDM — “A Drug Against War”
One of KMFDM’s most iconic songs, “A Drug Against War” pairs a pulsating electro-industrial beat with heavily Slayer-influenced speed metal guitar riffage. Add shouted, politically charged, sarcastic, self-aggrandizing lyrics, plus disturbing samples of the evening news and war, and you have the epitome of this band distilled into 3 minutes and 35 seconds. The “pew pew” sound of bombs dropping during the chorus brings it all together, perfectly punctuating the military themes. — Colette Claire
49. Nitzer Ebb — “Getting Closer”
The sound of a factory coming slowly to life and settling into its steady groove, or a sentient death dealing robot soldier running a diagnostic check before beginning its daily assault. An aggro club jam where every element — from Douglas McCarthy’s raspy chant to each vicious synth lick — is treated like a percussion instrument. Mixes well into the sets of a daring disco or helps set the mood in the BDSM dungeon of your choice. — Robert Ham
48. Godflesh — “Like Rats”
Kicking off Godflesh’s 1989 masterpiece Streetcleaner, “Like Rats” is a statement of intent. Not only does it establish the band’s nihilistic perspective on society, but it also introduced the Godflesh sound: sludge metal riffs over drum machines. It’s the latter that immediately lumps the band in with industrial metal — in 1989, hip-hop drum machines were highly uncommon in heavy metal — but the synthetic percussion adds a level of cold dissonance that drives home Godflesh’s conceptual intent. — Jon Hadusek
47. My Life with the Thrill Kill Kult — “Sex on Wheelz”
Knee deep in the bizarre, the Thrill Kill Kult’s “Sex on Wheelz” verges on acid funk with its relentless grooves and innocuous absurdity. The song mostly rides a highly memorable guitar riff, which stays on repeat while all kinds of offbeat nonsense transpires: hoots, hollers, random horn bursts, joyous declarations of “Sex on wheels!” The vocals are purposefully goofy, bordering on parody; however, the lyrics reveal a surprising erotic poetism: “I’ll turn you on like a tiger baby/ Hard body motor city love life/ I’ll take you for a ride down the midway baby/ Be my little human sacrifice.” — J. Hadusek
46. Nine Inch Nails — “Terrible Lie”
There are few other songs that so perfectly embody the teenage anguish of disillusionment in the foundational institutions of our youth, from church, to school, and corporations. Electronic bells and whistles that border on 1980s new wave are coupled with gritty guitars, an angry, clanking beat, and Trent Reznor’s characteristic nasally, distressed wail. The noise and the aggression of the chorus is contrasted by the slower introspective nature of the verses, but nothing tops the power of the bridge and keyboard interlude at the end. — C. Claire
45. The Beatnigs — “Television”
Michael Franti would like you to forget the work he made pre-Spearhead, but we can’t let that happen. The radical politics and musical fury he presented as member of the Disposable Heroes of Hiphoprisy were fomented in the Beatnigs, a Bay Area group whose signature tune was this yawing anthem about the addictive properties of the idiot box — the “drug of the nation breeding ignorance” among the American people. A message as sadly relevant today as it was in 1987. — R. Ham
44. Throbbing Gristle — “Hot on the Heels of Love”
Thorbbing Gristle founding member Cosey Fanni Tutti calls this track a spoof on the Moroder-produced hits of Donna Summer. But they get so close to the real thing via her breathy vocals and the pulse of a sequencer that it barely qualifies as parody. True to puckish form, the quartet fill out the track with barely plausible synth melodies, Vocoder bleats, and what sounds like a leather strap being applied to bare skin. — R. Ham
43. Skinny Puppy — “Assimilate”
Who says you can’t dance to metal music? Skinny Puppy’s “Assimilate” is an electronic dance anthem that offers a dose of cutting metal. The song kicks off Skinny Puppy’s debut LP, Bites, and remains one of the strongest moments of their career. With “Assimilate,” Skinny Puppy introduced their trademark sound of pulsating rhythms and dark aesthetics to the music world. — Anne Erickson
42. Rammstein — “Feuer Frei!”
Rammstein are at their testosterone-fueled best in this ode to explosions both literal and figurative. It’s also the best excuse for pyrotechnics in a stage show ever written. One doesn’t need a German translator to appreciate the lyric “bang bang” during the song’s chorus, where the music frenzies into creepy gothic keyboards and crunchy metal guitars competing for equal attention. It’s fitting that the song was not only on the band’s third album Mutte but also on the soundtrack for the 2002 action film XXX, as it certainly gets the adrenaline pumping. — C. Claire
41. Ministry – “Thieves”
Ministry’s “Thieves” is one the most significant industrial tunes of all-time. Up until this point, industrial may have included elements of rock. But metal? Al Jourgensen was perhaps the first musicians to truly merge industrial/electronics with extreme/thrash metal – resulting in this classic tune, which every industrial band in its wake either knowingly or unknowingly borrowed from. — Greg Prato
40. Fear Factory — “Resurrection”
On this industrial metal staple, the opening keyboard riff builds up as vocalist Burton C. Bell’s smooth voice eerily creeps in. This lulls the listener into a false sense of security until the tension and release part of the song comes in to punch them in the face. Each line is punctuated with Bell’s signature growled vocals, Raymond Herrera’s machine-like drumming, Dino Cazares machine gun guitar licks, and Christian Olde Wolbers pulsing bass. This juxtaposition between soft and heavy, dark, and light, a Fear Factory signature, continues throughout. — C. Claire
39. Front 242 — “Rhythm of Time”
Belgium EBM masters Front 242 nearly hit the big time with their fifth album Tyranny (For You), with new label Epic looking to tap into the surprise success of Nine Inch Nails two years earlier. Leading the charge into the lower reaches of the Billboard charts was this banger that didn’t soften the electro attack of their previous work so much as add a touch of clarity to get that devilish vocal hook and that delectable beat lodged in listeners’ joints and brain stems. — R. Ham
38. Murder Inc. — “Murder Inc.”
When Killing Joke fractured following Jaz Coleman’s relocation to New Zealand in the early 1990s, the remaining members formed Murder Inc. alongside industrial vet Chris Connelly. The group released a sole self-titled LP that was engineered by Steve Albini — arguably in his recording prime — resulting in a fine slab of early ’90s industrial rock. The title track is pure rage captured on tape, as Connelly lays forth acerbic observations with unflinching repetition and an icy demeanor. — J. Hadusek
37. Coil — “Panic”
A classic from Coil’s debut album, Scatology. With a little assistance from Foetus main man J.G. Thirlwell (credited here as Clint Ruin), the duo concocted a song that fits the genre descriptor of industrial all too well. The beat might as well be a field recording of a factory that produces luxury automobiles, and the melody and shouted vocals from John Balance are the sound of a conversation and a boom box trying to be heard over the din. — R. Ham
36. Code Orange – “Underneath”
The title track, lead single, and closing opus of Code Orange’s eclectic fourth album, “Underneath” begins by cleverly bringing the record full circle with unsettling robotic ambience. Shortly thereafter, it evolves into a compelling hodgepodge of Garbage-esque antagonism, glitchy soundscapes, and sporadic guttural outbursts. While the core foundation is definitely engrossing, it’s the group’s ability to consistently shake things up on top of it (via extra guitarwork, sudden tempo changes, and the like) that makes it truly remarkable. — Jordan Blum
35. Rob Zombie – “Dragula”
Although it quickly became synonymous with 1999’s Twisted Metal 4 video game, this ode to classic sitcom The Munsters grabbed hold of our hearts (and throats) when it first appeared on 1998’s Hellbilly Deluxe. The initial build-up is thrillingly playful – capturing the campy vibe of vintage late-night horror shows – and once Zombie’s in-your-face performance takes over, it’s damn near impossible not to sing with him. Despite being fairly simple, the biting arrangement suits him perfectly, too, with plenty of inventive surprises along the way. — J. Blum
34. Gravity Kills — “Guilty”
The popularity of Nine Inch Nails led to a heyday of industrial rock throughout the 1990s. Young bands inspired by Trent Reznor were popping up left and right, such as St. Louis’ Gravity Kills, whose biggest hit “Guilty” stands as one of the better examples of post-NIN industrial. There’s also a little Filter and Skinny Puppy at work here, as driving rhythms and distorted guitars clash against subtle vocal melodies — perhaps the track’s most Reznor-esque quality. We’ll gander that a few tweeters were blown back in ’96 to this harsher. — J. Hadusek
33. Combichrist — “This Shit Will Fuck You Up”
The ultimate industrial club banger, this beat-driven song is dark and edgy while still making you want to move your body and get sweaty. It is simplistic yet powerful in its delivery with the hi-hat keeping the rhythm, the main hook a squealing synth pitch bend, and no vocals except a creepy disembodied female computer voice offering sexual favors. But the best part has to be when that beat drops after the computer says the song’s title, which is when the club really goes hard. — C. Claire
32. Big Black — “Bad Penny”
Steve Albini made some of his best work when he took on the performative guise of a truly awful human being. In this signature track from the final Big Black album, he pours meat tenderizer into the wounds inflicted on listeners by his and Santiago Durango’s razor wire guitar work, chastising someone for daring to put any amount of trust into the protagonist. For extra credit, seek out St. Vincent’s equally vicious cover of the tune. With her virtuosic guitar work, she makes the music burn somehow even hotter. — R. Ham
31. Chris & Cosey — “Heartbeat”
The title track to the first full-length by Throbbing Gristle members Chris Carter and Cosey Fanni Tutti leans far more synthpop as the pair dig into the pulsating joys of Italo disco and Kraftwerk. True to industrial form, the surface of this work is slicked with an oily darkness that you have to fight to keep from weighing you down. And just when you think you’ve got a bead on it, the music keeps morphing and evolving. It’ll fuck up your flow on the dance floor if you’re not ready. — R. Ham
30. My Life with the Thrill Kill Kult – “The Days of Swine and Roses”
A nightmarish attempt at lulling literally anybody to sleep, the poeticism of “The Days of Swine and Roses” is obligatorily dark, weaving in lines about murder and mental illness amongst the metallic taste of tense basslines and guitar licks. A lyric about a “Christian zombie vampire” is one thing, but ending with the power couplet “The day I die because of you/ The days of swine and roses” sticks in an uncomfortably sad way. Talk about a thrill kill, and the band knows how to do that all too well. — Cervanté Pope
29. Lard — “The Power of Lard”
Lard are one of the more notable supergroups to be associated with industrial, as the band saw Ministry’s Al Jourgensen team up with Dead Kennedys’ Jello Biafra. The title track from Lard’s debut EP, The Power of Lard, stands as the group’s touchstone moment, and the combination of Jourgensen’s industrial leanings with Biafra’s vocals give the impression of a more punk-ish version of Ministry. Lard would also defy the fate of many such supergroups, enduring throughout the 1990s and releasing two additional full-length albums. — J. Hadusek
28. Celldweller — “Shapeshifter”
The industrialization of rap rock and nu-metal in the late ’90s and early 2000s was a once stigmatized phenomenon that has finally, it would seem, reached a state of acceptance among pundits and tastemakers. Thus, there are many artists from that era that are due for a reassessment, i.e. Celldweller. The production on a track like “Shapeshifter” — floating between alt-metal, rap, and industrial — is adventurous in a way that is free of irony and 100-percent committed to its futuristic aesthetics. And it’s a rap metal song featuring verses by an actual rapper (West Coast emcee Styles of Beyond), something that sadly didn’t happen enough back then. — J. Hadusek
27. Ministry — “(Every Day Is) Halloween”
Prior to their foray into industrial metal, Ministry leaned a little more synth-pop in their early days. But a great song is a great song, and “(Every Day Is) Halloween” certainly has enough industrial elements to qualify for this list. It serves as Al Jourgensen’s glorious anthem for the industrial / goth / dark wave scene, and for many of us, was the highlight of those magnificent late-night club days when we let our freak flags fly! —Spencer Kaufman
26. Skinny Puppy — “Stairs and Flowers”
Working with samples from a pair of strange radio dramas, Skinny Puppy built a track that swirls through the stereo field with psychedelic force and intent. Nivek Ogre’s vocals become just one splash of color in this audio spin painting to the point that it’s hard to decipher where his participation begins and ends at certain moments in the mix. A song you don’t so much listen to as give yourself over to like an ocean’s undertow. — R. Ham
25. David Bowie – “I’m Afraid of Americans”
You can certainly make the claim that David Bowie helped lay down the groundwork for the style that became industrial – thanks in part to his “Berlin trilogy” (1977’s Low and Heroes, plus 1979’s Lodger), which saw the chameleon-like rocker go all electro-experimental. So with such bands as Nine Inch Nails ruling the charts and MTV during the mid-late ‘90s, what better time for the Thin White Duke to issue the industrial-rock classic “I’m Afraid of Americans.” The music video c0-stars Trent Reznor, who offered several remixes of the track and has performed it live with NIN. — G. Prato
24. 1000 Homo DJs — “Supernaut”
The beauty of this track from Ministry side project 1000 Homo DJs (a name taken from a withering comment from Wax Trax co-founder Jim Nash) is that it was a meeting of two industrial titans: Al Jourgenson and Nine Inch Nails leader Trent Reznor. The former provided the increasingly nasty music that added some caustic oomph to the familiar strains of this Black Sabbath. The latter took the lead vocals (on the later-released original version), singing as if he’s trying to swat a 747 out of the sky with each word. — R. Ham
23. Swans – “Cop”
Starting with the slowed heartbeat of a bass drum, the instrumentation stays relatively simple throughout the song’s runtime, leaving maximum capacity for its subject matter to really sink in. Just as prevalent today as back in its original release year of 1984, Michael Gira’s delivery of lyrics like “Nothing beats them like a cop with a club” rings painfully true alongside headline-making events in recent years. — C. Pope
22. Lords of Acid — “I Sit on Acid”
The gritty techno of the band’s first album Lust is epitomized on this energized, pumping, danceable track. A panoply of electronic gadgets comprises the feverishly mechanical beat and rave-inspired keyboard groove. These are expertly combined with the sultry vocals and their overtly sexual lyrics, in true Lords of Acid fashion. The vocals rhythmically blend with the rest of the music, rather than being at the forefront, making it equal parts danceable, hooky, and shocking all at the same time. — C. Claire
21. White Zombie – “More Human Than Human”
After scoring a surprise breakthrough hit with their 1992 LP La Sexorcisto and the Beavis and Butt-Head-approved “Thunder Kiss ’65,” where would White Zombie go from there? The answer was instead of reinventing the stylistic wheel, Rob Zombie and his scruffy cohorts opted to hone and perfect its industrial-metal direction — as evidenced by the slide guitar-led “More Human Than Human” (the lead single/video from their final LP, 1995’s Astro-Creep: 2000). — G. Prato
20. Cabaret Voltaire – “Nag Nag Nag”
From the introductory moments of “Nag Nag Nag,” you’re not necessarily sure what’s in store for you for the next nearly five minutes. The heavily whirred static, the unresolved tension that shrouds its lyrical outbursts — it’s like an onslaught of anxiety from start to finish. What Cabaret Voltaire did with “Nag Nag Nag” was something that hadn’t really been done to such an extent before, by utilizing technological processes in song to manifest utter dread. — C. Pope
19. Nine Inch Nails – “Wish”
“Wish” is a classic example of how immediately gripping and adventurous — not to mention alluringly dissonant — early Nine Inch Nails could be. Trent Reznor’s sentiments and singing are habitually bleak yet tempting, with an equally representative balance of quiet respites and explosive interruptions from its traditional timbres and nightmarish modulations. Overall, then, there’s endless beauty within the griminess, and considering that it comes from 1992’s Broken EP, it’s clear that “Wish” cemented how bold and refreshing Reznor’s vision was from the start. — J. Blum
18. Static-X — “Push It”
“Push It” was a major moment for Static-X, as it marked the industrial metal band’s first single off their classic debut album, Wisconsin Death Trip. The groovy, heavy, wild industrial sound on “Push It” served as a blueprint for Static-X’s music to follow. Today, “Push It” remains one of the band’s most popular songs. Sadly, Static-X frontman Wayne Static passed away in 2014, but the band is continuing on with the masked Xer0 as their frontman, and “Push It” still rips live. — A. Erickson
17. Killing Joke – “Requiem”
Killing Joke’s self-titled debut LP is among the most influential and praiseworthy genre collections ever. With its hypnotically repetitious lone rhythm, hooky verses, and enticingly rebellious guitar playing, opener “Requiem” is a clear standout on the album. Touching upon goth rock and post-punk alongside its industrial coatings, it’s like the ideal bridge between The Clash’s unruly grittiness and the upbeat melodic monotonousness of multiple 1980s new wave artists. It’s instantly replayable and endlessly enjoyable. — J. Blum
16. Revolting Cocks — “Beers, Steers & Queers”
One of many notable Al Jourgensen projects, Revolting Cocks injected a bit of humor into their sample-heavy songs. The title track to the outfit’s 1990 album starts out with a cheeky phone call and follows up with such lyrics as, “Texas is full of women and willies/ Eyes too close, filthy hillbillies/ Who are these people, raised in barns/ Ghouls and fools, sex on farms.” It’s also as infectious as hell. — S. Kaufman
15. Ministry – “Stigmata”
1988’s The Land of Rape and Honey is one of Ministry’s best offerings, and a big reason why is this pitch-shifting introduction. Built upon abrasive drum loops, distorted vocals, nihilistic lyrics, disconcerting samples, and otherwise quirky instrumentation, it feels like the otherworldly fusion of Sex Pistols and Oingo Boingo. In other words, it’s an ingeniously experimental yet cohesive statement that’s both frightening and fun, and the fact that it was a last-minute addition to the LP means it’s particularly triumphant. — J. Blum
14. Pigface — “Suck”
Industrial supergroup Pigface drew Nine Inch Nails leader Trent Reznor into their orbit only briefly, resulting in a lone song on the group’s debut album, Gub. But what a song it was! Presaging the dark sensuality of future NIN classic “Closer,” this tune keeps a steady thrust over which Reznor whispers delicious come ons and shouts drill sergeant-like demands. The NIN redux on Broken was all well and good but lost the song’s urgency and tumescence in the translation. — R. Ham
13. Front Line Assembly – “Mindphaser”
Front Line Assembly’s Tactical Neural Implant had quite a few high points, but “Mindphaser” was the one that really sank its teeth into the merry-go-round of catchy tracks. With an award-winning video to boot, the cyberpunk appeal of “Mindphaser” is part of what makes it such a memorable track — even though its lyrics succeeded and were written to the footage of the video, the song’s intention and driving energy feel like it was always at the forefront. — C. Pope
12. KMFDM — “Megalomaniac”
By 1997, German industrialists KMFDM had long since established themselves as one of the most prolific acts in the genre. Released that year, their (symbols) full-length garnered the band a spike in popularity via a handful of standout tracks — opener “Megalomaniac” being the most notable. Cascading arpeggiated synths and club-ready beats act as an immediate hook, setting up the lo-fi vocals, which are delivered in a spitfire cadence that’s instantly memorable. KMFDM frequented the dancier end of the industrial spectrum, and “Megalomaniac” arrived at a time when house and techno were all the rage. It stands as their most popular song and a forerunner for the currently thriving electro-industrial movement. — J. Hadusek
11. Nine Inch Nails – “March of the Pigs”
With such a long duration from when their prior LP was released (Pretty Hate Machine, five years earlier), when NIN finally dropped The Downward Spiral almost exactly one month before Kurt Cobain’s death, it was understandable to ponder if their next album would or wouldn’t be as potent. Although “Closer” and “Hurt” would eventually get the most attention, Trent Reznor and co. boldly decided to go with their most ferocious rocker as its lead single, “March of the Pigs.” — G. Prato
10. Pailhead — “I Will Refuse”
Just as Ministry were working to leave synth-pop behind and Ian MacKaye was preparing to plow new sonic ground with Fugazi, the two joined forces for a brief interregnum under the name Pailhead. The lead single, “I Will Refuse,” takes its sweet time slowly building upon dubby layers of studio chatter and hi-hat paradiddles before revealing the song’s thrashy core. The only downside was that this incredible collaboration only lasted for a handful of songs. — R. Ham
09. Einstürzende Neubauten – “Yü-Gung”
Imagine hearing “Feed my ego!” over and over again until it’s the only thing your mind can produce. In German, the phrase’s oppressive energy is even more taunting. Vocalist Blixa Bargeld delivers that repeated phrase to such a hypnotic degree that, combined with its disturbing blend of metallic electronics, makes it hard not to pay all of your attention to it. For a song about the grandiosity of ego, its fierceness doesn’t detract from its simplicity and humbleness. — C. Pope
08. Filter — “Hey Man Nice Shot”
After experience as an early member of Nine Inch Nails, Richard Patrick formed his own band, Filter, and delivered one of the best debut singles of all time. “Hey Man Nice Shot” was written about the very public suicide of Pennsylvania state treasurer R. Budd Dwyer, who shot himself during a live press conference. While the subject matter is bleak, the song’s soaring chorus is undeniably powerful and infectious. —S. Kaufman
07. Throbbing Gristle — “Hamburger Lady”
Using the text of a letter written by mail artist Blaster Al Ackerman, Throbbing Gristle tell the tale of a burn victim who sustained her injuries in a car accident. This explains the constant revving of automobiles underneath every minute of this track and the engine-like drones of a bass guitar that swim into view. Founding member Genesis P-Orridge reads the text through a bank of effects as if gasping for air and understanding through a wet breathing tube. An insidious bit of genius. — R. Ham
06. Skinny Puppy — “Worlock”
“Worlock” is among Skinny Puppy’s signature tunes, meshing goth and industrial metal to great accord. The song features layers of synths and a dark, longing melody that begs to be listened to over and over. Featuring a mesmerizing chorus and Nivek Ogre’s robot-like vocals, this song from the past actually sounds like it could be from the future. — A. Erickson
05. Nitzer Ebb – “Join in the Chant”
This song is pure industrial adrenaline. It gets the listener to do exactly what the song title says: “Join in the Chant.” The lyrics might just seem a string of random repeated words like “lies,” “gold,” “guns,” and “fire,” but pair them with a massive beat and it makes for as powerful an industrial song as you’ll ever hear. Nitzer Ebb certainly delivered the “muscle” on this anthem. —S. Kaufman
04. Rammstein – “Du Hast”
Rammstein have put out a number of memorable tracks over the last 30 years; that said, their signature song – “Du Hast” from 1997’s Sehnsucht – remains at the top of the list. A quintessential example of Neue Deutsche Härte (which the German ensemble kickstarted), it’s a relatively straightforward assortment of mucky verses, militaristically operatic choruses, affective programming, angelic backing vocals, and varied rock textures. That’s precisely why it works so well, though, as it offers a welcoming but wholly illustrative glimpse into what makes Rammstein special. — J. Blum
03. Ministry – “Just One Fix”
Backdropped by staticky guitars and a cacophony of noise, Al Jourgensen pulled no punches on “Just One Fix.” It’s one of the band’s most known songs and with drugged-out audio shouts from Sid and Nancy (“Never trust a junkie!”), and Peter Fonda and Bruce Dern’s exclamation, “Gimme that Thorazine, man!” from The Trip, becomes even more memorable. The movie line selections were the perfect, disturbing additions to drive the song home. — C. Pope
02. Front 242 – “Headhunter”
A drum beat can be the most memorable part of a song, taking it to greater heights depending on where it lands on the blast-ability spectrum of air drumming. Front 242’s “Headhunter” is driven by its kick drum machine madness. Even though it’s a song about the mores of corporate politics, there’s nothing at all about it that gives an air of stuffiness, hubris, or arrogance, even if its subject matter centers around the juxtaposition between the sharply dressed modern man and the sharply cutthroat modern workplace. — C. Pope
01. Nine Inch Nails – “Head Like a Hole”
For many, this was the song that served as the gateway into industrial music, and with great reason. It’s the ultimate industrial anthem. When Trent Reznor and company unleashed “Head Like a Hole” as the second single from Nine Inch Nails’ debut album Pretty Hate Machine, it opened up music fans’ eyes to a scene that had largely stayed underground until then. It’s heavy and melodic, angry and introspective, and is not only arguably the best industrial tune of all time, but one of the greatest songs ever, period. And, to this day, when Nine Inch Nails perform “Head Like a Hole,” it’s as cathartic an experience as you’ll ever feel at a live show. —S. Kaufman
50 Best Industrial Songs of All Time
Heavy Consequence Staff
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