Industrial Music Quotes

Throughout my years in From First to Last, I was always dabbling and making electronic music on my own time. The first records I ever owned were crossover electronic rock, like Prodigy, Marilyn Manson and Nine Inch Nails.

I grew up listening to bands like the Cure, Joy Division, Cocteau Twins, Dead Can Dance - these are the bands that I actually grew up with, and I always had these things in my taste, too. And I always loved industrial music as well: I listened to Throbbing Gristle, SPK, Cabaret Voltaire. And shoegaze bands like Slowdive and My Bloody Valentine.

Anyone who likes Static-X will definitely like my solo record.

I'm done with industrial. Seriously, my iPod collection at home has no industrial music on it; it's strictly jazz, blues and country.

I think EDM and metal and rock have been together already for a long time. Bands like Nine Inch Nails, Linkin Park, the Prodigy - they all have influences from both.

Musically, I didn't relate to Berlin. There seemed to be a lot of machine music made there - I don't think I saw a stringed instrument in two years.

I like Nine Inch Nails, and I like hip-hop.

I did Noise Music because I genuinely liked noise... But a lot of people didn't. At my concerts, people smashed beer glasses in my face.

A lot of what I've done as Nine Inch Nails has been governed by fear. I was trying to keep the songs in a framework that was tough, and I learnt a lot from Jesus and Mary Chain about how to bury nice pop songs in unlistenable noise - the idea being if you can get behind that wall, you find there's a pearl inside.

Joy Division sounded like Manchester: cold, sparse and, at times, bleak.

Pighammer' is my pure vision of what I want to do, but at the same time, if you like Static-X, you will love 'Pighammer.'

The industrial thing came about mainly through giving up trying to write pop songs in the early '90s. I don't think I was ever very good at pop music and as soon as I stopped trying, and started to write more the things I loved, it became much heavier and more aggressive.

I just like heavy music in general - from heavy rock and heavy metal and heavy rap and heavy everything. I've always been attracted to it.

My set can get really screamo and aggressive, or it can be ambient and Enya-esque.

Self-examination with a close-up mirror in an antiseptic environment is what Nine Inch Nails is based on.

Yet I was Marilyn Manson - times 10.

With a Nine Inch Nails show, I'm building on a legacy that comes with a certain set of expectations. I have to push that forward, I have to reinvent myself, I have to feel current and valid.

I'm sure there is a group of people that assume Nine Inch Nails is just noise and chaos - or whatever it might be dismissed as, and sometimes is.

Nine Inch Nails' sound is dominated by clanging synths and sardonic, shrieking vocals.

Well, I didn't really grow up playing or listening to metal, like many of the kids I went to school with. I only got into it in my late teens, so when Marilyn Manson formed, it was at a time when I was still excited about approaching music from that angle.

With Nine Inch Nails, it's all Trent Reznor. So when we get a new record from Nine Inch Nails, it depends on what side of the bed Trent's waking up on and what he's been eating lately and what he's been into. Because he's preparing the whole meal.

I wouldn't consider myself Goth, but I love Gothic pieces.

Bands like Kraftwerk and Tangerine Dream, who I respect, have a very robotic, dehumanised approach. They're almost an apology for machines. It's very German.

Leading into 'The Hurting,' what changed our view of music was Gary Numan.

Ministry is just ZZ Top with technology.