D.O.A. the Third and Final Report of Throbbing Gristle

As clearly as much of this isn't music, it performs the same function. The formal elements have clearly been picked up by the modern ambient community, sans much ugliness. As interesting is the motorik sometimes present: Throbbing Gristle didn't come from nowhere. Deranged, though.

A challenging album but not difficult to listen to I think people who rate this low just read the wiki page and hear the first couple of songs and give up. This is truly a reason to be doing the project to hear albums that you wouldn’t routinely listen to. The real inventors of industrial music. I enjoyed it. I’m not saying I would listen to it regularly. I’m just saying that it’s a decent album that beats listening to something that I have heard a hundred times.

Sure it's challenging, but it's no Merzbow.

A fun listen but there wasn't enough in the longer tracks to keep my attention throughout. "Hamburger Lady" is great, and "I.B.M." and "AB/7A" are each a unique kind of banger.

Full marks for being different and influential and pushing the DIY envelope in arty ways. However, on substance, this is moderately interesting at best and often primitive-sounding. Much of it barely qualifies as music or, for that matter, a record. "Found sound" (especially answering machine content) jumped the shark quite some time ago, no? One might be just intrigued enough to explore a touch more of the catalog (liking soundscapes, obscurities and irrelevant artistic endeavors as much as one tends to do), but it’s certainly not a no-brainer and one’s skeptical about finding much else worthwhile.

This is not a good album. I don't even think it's music. But I was honestly interested enough to not want to turn it off.

It throbs. It's grisly.

I started listening to the lowest rated album on this whole project with some trepidation. Now, don't get me wrong, this isn't good. But... it wasn't boring, and it didn't outstay its welcome so It avoids a 1 star rating from me.

This was a little abstract for me but pretty interesting. It's funny how seemingly random sounds can pull together into something sonically engaging.

Is this album a collection of songs? Is this a song? Am I listening to a song or working in a factory in 1980? Is this reality? What I'm doing listening to it? Who am I? I need to give this album an extra star for predicting 1978 how AI-generated songs would look like in 2023. Impressive.

D.o.A: The Third and Final Report is the second album by English industrial music pioneers Throbbing Gristle. In this album the band continued toying with industrial music - which is a genre of music that uses harsh, mechanical, transgressive, or provocative sounds and themes. Defined in simple terms, industrial music is the "most abrasive and aggressive fusion of rock and electronic music". The genre began as a blend of noisy patterns from electronic devices and punk rock. This album was one of the early works of industrial music and was an "essential, nauseating masterpiece". I'm not sure I would echo that previous sentence, but this was an interesting album. Less music and instead more random sounds strewn together in rhythmic patterns. It was definitely trippy, but not something I would ever go out of my way to listen to. Also, what's with the little girl on the album cover? I read they gave away a calendar of her with the first 1,000 album purchases. That's more than a little weird - but I guess it wasn't weird for the late 70's.

FINALLY! At album 859, I get to hear what, at this time. is the Worst album rated on the list! Bravo! well deserved!!!! I consider myself an eclectic listener, but this seems to go out of its way too make a truly experience. Having said that, give it a try...there is one track that is OK.... (9)

What kind of crap is this? I only made it halfway through the album. Then I'd had enough. I didn't want to listen to any more of that stuff. The album deserves its rather poor overall rating. 1/5

i like some weird stuff, but i can’t imagine a situation where i would ever want to listen this again. that said, “ab/7a” was cool.

This album asks important questions. Questions like, what if Revolution 9 were shitty and four times longer?

There was a brief moment of nostalgia for the sound of the old dial-up modem (I’m old). That was the highlight of this one. Now I’ve heard it, I’ll be stunned if I ever voluntarily listen to it again. Ooh! I just saw that as of today this is THE LOWEST rated album on the list! I am going to help it stay that way. Good to get this one done.

This is shite!!! I don’t do that many drugs to even know WTF this is! Hard pass!!! Put this in the Heavens Gate never listen to again category!

I mean, where to start with that? It was certainly some sounds that happened in quite an unpleasant way. Was it music? Not as I know it to be fair. Maybe I'm marking myself out as a naif, wanting 'songs' and 'melody' rather than 'quite a close approximation of a waking nightmare'. It's safe to say the last three days have not been the Project's finest. Insert meme of Jez from Peep Show saying 'that wasn't very Christmassy' here.

…. are you even FUCKING serious right now lmao Okay, context. I spent much of my review of Thursday’s album complaining about how my Wednesday and Thursday albums were two of the twenty lowest-rated albums on the global stats page (and justifiably so, in my opinion) and concluded with a wish for something more fun. And after a brief, admittedly fun interlude spent with A Tribe Called Quest on Friday, my Saturday album is the lowest-rated one in the entire book. I’m starting to feel that my generator isn’t really being entirely random with me right now… did I offend the Music Guy gods when I called Since I Left You “fanfiction by and for men who spend too much time on Pitchfork”? Is this some attempt to force me to get with the Pitchfork program? This album has a 9.5/10 on that website, incidentally, which is a fact that only makes me more convinced than ever that the people who run and frequent it are more interested in the idea of themselves as Cool Enlightened Music Appreciators than they are in the idea of actually appreciating music. I’m sorry but I really do find it hard to believe that anyone puts this kind of thing on and just, like… enjoys it. But I guess I shouldn’t say these things in reviews anymore lest I have to deal with some even crazier shit tomorrow. RIP All that said. I don’t know. Maybe I didn’t hate this *quite* as much as I hated the Wednesday/Thursday double whammy? There were a few moments. Maybe two or three moments. Probably all of those moments happened on AB/7A. The thing about this album is that any rave reviews it gets are all applauding it for being So Very Fascinating (no one, of course, is brave enough to commit to the obvious and objective lie that the music is Good) but I just don’t see it, really. What’s fascinating about overhearing your neighbors to either side having barely-intelligible conversations with people through the walls (Valley of the Shadow of the Death)? What’s fascinating about the ramblings of a six year old layered over a crying baby and some vague synth noises (Hometime)? I am willing to concede that Hamburger Lady is pretty notably repulsive if you listen to it closely. But that’s mostly down to the lyrics, and the band didn’t even write the lyrics—they took them from a letter written by some other guy. My overall impression of this album: a series of vaguely creepy soundscapes that get a little creepier if you start thinking about them a little harder, but, like, why would you bother. You could spend the time doing literally anything else. If I don’t get something I can feel justified giving at least two stars to for at least the next two days in a row I am going to scream and bang on things for forty-five minutes, record it all with my shitty laptop microphone, add some synth, release it on vinyl, and eagerly await my well-deserved critical acclaim. Please. I am one month into this project. By all rights I shouldn’t have had to deal with this much shit yet. Have mercy

Hit by a Rock really felt like getting hit by a rock. I have to give them that.

Wtf is this torture music

This album needs a hug, but I don't want to go anywhere near it.

It's fucking Christmas and instead of hanging out with my family, I'm listening to this shit. There are a few songs where I understand the artistic appeal but for the most part, this seemed to just be sound. 1/10

What a horrible band name. Starting the first song is only distortion or static and some hospital equipment beeps which promises that this album is going to be a slog. This is not music, this is a collection of annoying sounds. The second song is better solely by the fact that someone is singing and there is definitely a bass being played. Then they play their big debut single at 16x speed or rewinding or whatever. More found sound, this time a foul mouthed conversation over some "musical-ish" sounds and rain. Two alternate conversations, if this was the sound of a restaurant I was in, I'd leave. Einstürzende Neubauten heard this album and thought, "Hey, we can do this in German." It's hard to decide who did it worse. Dead On Arrival has the most music and is still somehow worse than the songs made up of annoying noises. That this album exists is a testament to the condition of modern humanity that enough freedom and leisure time and income exists to make this possible. Now it's the idiotic babble of a child over weird space-age sounds. The kid does have a cute voice. And know it's scientists talking about e. coli. These "songs" are terrible. It's hard to know if the songs with terrible tape recorded talking are better or worse than the songs with no human voices at all. That was a truly terrible experience.

An experimental art album that doesn't land in the slightest. I know that art can be subjective in any medium, but for this to be in a list of "1001 albums to listen to before you die" means that the makers were definitely scrapping the bottom of the barrel to fill the list. 1/10, and that's only because there could have been potential for someone these to launch into at least a mediocre song.

I'm not sure it is possible to like this. As a statement piece, it takes some cojones. Many aspects seem deliberately placed to annoy. While a lot of it is actually quite intriguing, the overall effect is to make the annoying even more annoying. As an "art" piece, it sure does provoke a response. But that response is not to like it.

Where to start…like most people , this was not an easy listen. Walking down Tottenham High Road, it was tough ti distinguish between background noise and the “music”. Either way, respect to Throbbing Gristle for doing this, the record company for releasing it, the % of people of were inspired by this to make something better. ✊

Yeah I'm not interested in this. No digs against anyone who does enjoy this, but I find nothing to enjoy here.

13 SPOOKY/UNSETTLING AMBIENT CREEPYPASTA SONGS [ROYALTY FREE, LINK IN DESCRIPTION] Every time I have thought about this and how they are definitely capable of creating an atmosphere with their unsettling ambient tracks, I am reminded of how I had to sit around and listen to a whole track with someone wailing hit by a rock and just get annoyed again. And what is with this nonce cover art? Makes you wonder what one of the lead composers was doing when he died in Thailand back in 2010 Highlight: AB/7A

I.B.M. lets you experience life inside one of those room-sized computers they had in the 1970s. Hit by a Rock opens with someone being tortured just outside that same room? United came and went, didn't notice it Valley of the Shadow of the Death is clearly just a result of a Dictaphone being left in a council housing flat somewhere. I'm convinced this whole track is raw audio. Dead on Arrival, this shit is ass Weeping Hamburger Lady is more of the same random noise, which is good because it signals to me that the album does not have a change of heart in its second half to be something at least entertaining. Who gives a shit about the rest of the songs? Not the guys 'performing' it, that's for sure. I feel about these 42 minutes of noise as I imagine a lot of people do about modern/post-modern art. It's bullshit, and I don't know what level of degeneration of your frontal cortex/serotonin imbalance you have to have for this to be enjoyable. This shit sucks, anything higher than a 1 is a Christ-like level of charity and generosity. Music critics should be rounded up and forced to break rocks in that labour camp from the start of Rambo 2.

There's nothing about this album that can redeem it from its cover art. The music may be influential in industrial circles, but child exploitation is neither edgy nor provocative, it's disgusting.

"Art should comfort the disturbed and disturb the comfortable", said the Mexican poet and academic, Cesar A. Cruz. I would append; “Within reason.” Challenging art can be important, rewarding and memorable. Or just entertaining aural puzzles and experiences. Sometimes we seek it out and get what we came for. But to subject another person to this abrasive annoyance, boredom, or pain like this is beyond me. And beyond what I want to tolerate. I can only guess or sense that the origin of this art is their own special, twisted and malevolent form of abject alienation. Or maybe not so much experience worth sharing, but a joy they get from inflicting it. And I don't wish to study it further. The cover art and track names were informative sign posts. I won't reveal the rare and special insults that come to mind for this group.

Mostly annoying. I probably would've told myself that I liked this when I went through a bit of a "noise rock is cool, anything "weird" is good 'cuz most people won't like it and I like to feel superior" phase in my early 20s. I barely survived this.

Groupe inconnu. Mais où est la musique ? Il faut attendre le 9eme morceau pour écouter quelque chose qui y ressemble (AB/7A). C'est tellement barré que je me suis laissé emporter par ma curiosité et suis allé au bout ... mais absolument rien me donnerait envie de subir une seconde fois cette torture. => 1/5

influence hin oder her, this sucks lol

This album is abysmal. I’m sad I’m the only one doing this right now since I have no one to complain to about this.

Sounds like a test CD from a HiFi magazine for calibrating your system.

Seriously? The only folks that listen to this are introverted boys too smart for their own health, and men with high IQs and no ability to use it for good. Padded cells and heavy meds get them thru the day. Why remaster this shit?

This is a joke. Whoever added this to the list needs to do standup. Nothing worth listening to in the whole runtime.

Biggest pile of shit I've ever heard!!

Anti Music… Do not get why it is important to listen to this before I die. Wast of time really

Previous reviewer in 2022 said it was the lowest rated album on the list. I checked and in May 2024 it had climbed to second lowest. So here is my 1 in hope it drops to its rightful place. (I did try to listen but I’m on holiday and it was spoiling it) 1/5 21/5/24

Nr. 168/1001 I.B.M. 1/5 Hit by a Rock 1/5 United NR Valley of the Shadow of the Death 1/5 Dead on Arrival 1/5 Weeping 1/5 Hamburger Lady 1/5 AB/7A 2/5 E-Coli 1/5 Death Threats NR Walls of Sound 1/5 Blood on the Floor 1/5 Average: 1,1 That was unlistenable to me. I wouldn't call this music. Just random sounds.

cant say I’m feeling this one. It feels more in the realm of disturbed ambience, rather than industrial (with some exceptions like Walls of Sound). A bunch of it is just noise that isn’t necessarily irritating, but it’s also not interesting. It didn’t get much reaction from me other than boredom. A couple of the actually “songs” remind my of Chrome…but again, not really interesting. Do people like this for the challenging and subversive nature, or do people genuinely enjoy the way these sounds are arranged? I’m pretty open minded, but this ain’t it. AB/7A is a pretty rad track though.

Sorry, da fehlt mir das Verständnis. Kann mir nicht vorstellen, wie jemand das herstellen und verkaufen kann. Respektive kaufen...

Absolutely trash. > Throbbing Gristle's confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, earned the group a notorious reputation, but they maintained that their mission was to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music. If this was a person it wouldn’t be allowed within 5 miles of a school, and it shouldn’t be within 500 miles of this list.

Look, noise, dissonance, distortion, horrible grating unlistenable garbage, can all be an effective tools in the right context, but they can't be the entire album.

tfw you're listening to a Throbbing Gristle track but then you realize that actually someone just sent a fax to your voicemail inbox by mistake

Nah.

no bueno

This really begs the question "what is music?" Then immediately answers "not this." This was terrible and I didn't even get halfway through the album. Just pure noise to me. 0.5/5

its all noises? I can respect the boundary pushing but its just not even listenable as an album. Also using nazi imagery to be provocative and edgy is gross.

Throbbing Gristle is a strong band name. Just reading it makes me feel nauseous. I’m expecting maybe punk or some obscure type of metal? Once again, Apple Music simply says alternative which could mean anything! Let’s listen! Songs I already knew: none Favourites: none It feels like I’m being trolled today. Each track here is either ambient droning and noise, or otherwise literally the background sounds of being sat in a bar. It is ridiculous how this can even be considered music, never mind essential music. This might be one of the worst things I’ve ever heard. If this was the first album I’d ever listened to, I’d probably never listen to another. I’d rather shit in my hands and clap than listen to this again.

Not my proudest fap.

Wow. This is garbage! I genuinely don't see the value in this at all. Most of the songs aren't songs. In order for me to call something a song, you have to have some sense of rhythm, melody, or ideally, both. There's only like two songs on here that fit that and they both suck. The rest of the album is just pure noise. Sometimes it's just talking, other times it is literally just random noise. One songs on here was originally an actual song, but for whatever reason why sped up to become 16 seconds of sped-up garbage. I hate this. This infuriates me. This might be my least favorite album of all time. Everything here is stupid. I can't even call this music. Fuck this album. 1/5.

It may have been ground breaking from a production stand point, but’s to much of an art project to enjoy

A daring foray into experimental musical stylings. Bold. Brave. I absolutely hated it.

Ik vind chip-music wel leuk, maar dit is me toch iets teveel fabriek-music. *

I’ve heard about this, but I’ve never listened. This was really good. I’ll listen again.

I had a copy of this album when it was first released. It's been such a treat to hear it again now. Sinister, enthralling, wonderful.

Listened to the album, stood up, approached the window, lit a fag... Thought a lot... Cried... The infamous lowest rated album on the list. The way I see it it's music for people who hate regular music,N and while we're on this topic I want to revise my Kollaps rating, it's at least a 3 Now, I still don't hate normal music enough, so this album is as unlistenable for me as it is for the next guy, but I respect them for including child porn with their album, that's worthy of max score

This album is a tool for pulling memories out of your head you forgot were there. Damn near had a panic attack. That's great music. This album invoked such a visceral feeling. I couldn't believe what I was hearing. Everything is just so creepy. From the band name, the weird title making it seem like a mad scientists field notes, and the album cover itself. The guitar work is fantastic. At times it is downright beautiful amisdt all this noise. "Weeping" and "Hamburger Lady" are probably the scariest this album gets. But thankfully, there is a God and we are blessed with a cool fuckin synth track soon after. I genuinely loved everything about this, even the feeling of "I never want to hear this song ever again" Also, side note, these guys literally coined the term "industrial", so this album's importance is not up for debate

One of the best albums of all time.

Unbearable at times but more interesting than another fucking Super Furry Animals album

This is one of the creepiest and off kilter albums i’ve ever heard in my life. I love the industrial genre, dalek, death grips, nine inch nails wouldn’t be around if it wasn’t for these guys. Physically nauseating, revolting, scary, I never want to touch this again. And I genuinely believe this is a master piece

One of the lowest rated albums on this list, probably stemming from the fact that Throbbing Gristle is simply just not an easy band to listen to. Not in the pretentious Tool way, but in the incredibly weird avant-garde/inaccessible way. There wasn't "industrial" music in the 70s (we do not talk about Metal Machine Music), and some weirdo band had to foreshadow the sounds of underground 80s music/eventually mainstream(?!) by the late 80s/early 90s. But yeah, I guess somehow Kid Rock is better than this apparently. Easier to be lowbrow and ergo accessible than to make something crazily unique for no expectation of monetary reward for the most zonked-out people on the planet. Oh yeah the music. There really isn't anything quite like it before or since. Lots of synths, tape manipulation (some really find work in this department especially for the late 70s), spoken word. Like Crass if they were more musically-inclined and a bit more sophisticated. I love stuff like I.B.M., Dead on Arrival and AB/7A. Really great synth work for the late 70s, quite impressive stuff and good thanks to Chris Carter for that. I'm also the kind of person to find music that can make me feel disturbed or off-feeling, it's rare to get that out of music unlike choosing to watch a horror movie where you have a plethora of options, I don't find that much music that can give me the good ol' goosebumps so shout out to Hamburger Lady when I heard that the first time. Listening to this album for the list is the second time I've heard it all, and it's definitely a different experience coming into this album knowing what it sounds like. Less spooky. It never stays in the same mood as much as you remember and each song is somehow more distinct from one another. Kind of too much spoken word though. The dynamics of some of those songs (Weeping/Hometime/E-Coli/Death Threat) isn't going to sound great through standard speakers and also I think detract from the album's musicalness in favor of experimentation. Which is fine for an artistic choice but doesn't help with the album's pacing. It does sound like if the 70s heard some selection of mid 90s sample based electronic music from a time travel event. I first listened to Third and Final Report of Throbbing Gristle in 2020 and that was maybe the second darkest time period in my lifetime to have chosen to listen to that record to see what the band was about. Re-listening to this for this project has made me appreciate it more and like it better. I am admittedly a generous ranker and was thinking of giving this a three or four earlier, but it's definitely an album that takes two listens or so to really feel for it, kind of like the similarly low rated (and much better) album Trout Mask Replica. There is significantly worse music than this on the list, it's just that those albums are more sensible and easier to approach for people. This is definitely the polar opposite to that: a less sensible album for music weirdos. We need more of those in this world.

oops…

Adored this shit. Maybe a 5. So weird and subversive. I am all in

Lovely stuff

Did you know that there's actually 1089 to listen to. I did not. 5/5

Weird. Disturbing but wanted to see what it was about. Talks . Conspirative . Wouldnt suggest to go through it in the subway as i did. Or listen to it in a sad day. Actually not sure if i can find a state of mind where this álbum is listenable. But i am glad ive done it anyway. Hard to explain

Such a cool album. Ultimately, the sound would be perfected for 20 Jazz Funk Greats but there are so many interesting sounds packed in this album. Definitely not for everyone but it's exactly what I love. Weird, abrasive and playful. Since this site doesn't allow half stars, I'll go ahead and bump this one up to 5.

One of the best albums on the list. It's also an album that is extremely easy to understand why it's so widely disliked- I have a very difficult time understanding why I do like it so much other than when I listen to it, I feel like I'm in the presence of great art. It also makes me feel a certain way that is exclusive to when I listen to this album. Such a strange perfect album. To me it's impossible to know who would like this album so I never recommend it to anyone. I have never heard something that is so disturbing (at least in parts) yet so beautiful (at least in parts) and I doubt I ever will. From the creepy album cover (why is that little girl posed like that on a bed?) through the end of Blood on the Floor (the closing track) this album seems to have been made for no one but the band members. At least hear 'Hamburger Lady' a standout track in all regards. Well, that's it. My half ass review and I'm not at all pleased with it but if this album is difficult to listen to its 23 hundred times harder to write about. D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle D.O.A. the Third and Final Report of Throbbing Gristle -Throbbing Gristle

Initial reaction at the beginning of the album: am I being hacked? Then I realized the title is IBM and it's quite funny. Literally listening to the AI of IBM trying to communicate with me, but I don't have the braincells for it. The reviews are funny too, but this is such a weird album that I'm having a fun time with how out of pocket it all is. The more I find people calling this horse shit while listening to people whispering, some random European cursing in the studio, or just weird combos of sounds, I find myself having the time of my life. Towards the end, I will say it started to feel more like a horror movie, starting mostly with E-Coli giving 28 Days Later vibes. Overall, what a fun album to listen to in October!

Yeah - 5! Ive seen Genesis P-Orridge speak at The Rubin. Wow. They transition to look like their wife. Thats commitment. The sounds are intriguing and feel like a story, not random.

When it comes to the earliest stages of industrial music, and hearing it the way it was originally meant to sound, Throbbing Gristle was the first band to really create it and to even coin the term “industrial.” I’ve known about these guys since the mid 90s, back in my teens when I was listening to bands like Nine Inch Nails and KMFDM. Back then, I had a hard time appreciating Throbbing Gristle. Their music was too destabilizing and disjointed for me, with vocals that were often distorted, rambling, or more like spoken word, and sometimes sampled from other sources altogether. So when it comes to enjoying albums like this, you can’t go into it expecting the easy listening version of traditional industrial music. You’ve got to approach it when you’re in the mood for something avant garde, experimental, and challenging. It’s about pushing the boundaries of what was available at the time, and pushing the boundaries of what music can even sound like at all.

Oh, this is an album that a friend once said not to listen to in the dark. Evolving from performance art group Coum Transmissions, Throbbing Gristle were an early electronic/noise/industrial band, once labelled as the wreckers of civilisation. Often wilfully perverse (for the accelerated version of the single United), this is an album that combines electronica with electrical noise and found vocals. Very influential, and part of the great flowering of experimental music that came in the wake of the punk explosion.

Blood-curdling, audacious, unforgettable! Some of these tracks sound straight out of a horror movie, Hamburger Lady particularly lingers in the mind long after the album finishes. Not everyone will click with the dark, noisy style of this album, but thank goodness it clicked for me.

Hit by a roooooock!!!!

10/10 as a diehard fan of Swans and Boards of Canada, this music slaps

Experimental, eclectic, always engaging. Refines things done before it, prophesizes the future. Brilliant stuff.

Something new...let's have a listen

I'm not sure if Throbbing Gristle had ever been on my radar as a band I needed to listen to. The name is familiar as is Genesis P-Orridge, but I had only ever heard single songs if anything and never took the time to listen to an entire album. I am glad I finally did. I love music that pushes the boundaries of music. I may also be a bit contrarian when it comes to music sometimes as I get off on music that makes other people upset or hate it and I often despise the mainstream popular music. Don't get me wrong, I like the hits too, but I really like when people hate something so much and I hear it and think "hey, that wasn't that bad!" That is this album. An obvious "fuck you" to anyone who thinks "music" has to have structure and melody. In my opinion, Donald Trump could record an album of his nightly farts during his second presidency and that may completely change my extremely low opinion of him as a president into a very high opinion of him as a trolling avant garde artist who, thank God, was just fucking with us his entire life. "Farting on Melania in My Gold Plated 4-Post Bed in Mar-A-Lago next to a banker's box of sensitive documents @ 3:14 AM 4/16/25" would have to be played at my funeral. I would eat that shit up. One can dream, right? This is all a joke, right? Back to Throbbing Gristle. As others have mentioned, this album evokes a mood. I am not sure exactly what that mood is or was meant to be, but it ain't happy. It's the existential dread of life mixed with life's surreal underbelly. Why are we here? Why do we make and listen to these sounds? Do they have meaning or do they exist as a random assortment of noises that someone took the time to record? And how does one find meaning amid the meaninglessness of it all? Throbbing Gristle knows this isn't Top 40 material. They know it is bottom 40 material, but they are sending it out into the universe to ask us to challenge our perception of what "music" is. To be contrarian in a world of yeasayers. I appreciate that. It gets my blood flowing and melts a little bit of the plaque and microplastics in my brain. Would any of the songs on this album go on a playlist containing my favorite songs that I would want to hear again? Absolutely not. Can you sing along to Hamburger Lady or Hit By a Rock? You can try if you want to. Did this album evoke more emotion from me than Christina Aguilera's Back to Basics? Yes. And what was that elicited emotion exactly? I am not sure, but I felt something listening to this and I am of the thought that feeling something even if it is painful or depressing is much better than feeling nothing at all. So, as you listen to this, ask yourself what it makes you feel. A lot of music is just someone trying to make a buck by trying to make you happy. Throbbing Gristle said fuck that. We will make no money to make you depressed. Your happiness is not our concern, if you want to be happy listen to Van Morrison or Raffi, but if you want to think and feel something completely different, give us a try.

Hahahahaha. I can almost see the reviews without reading them. Divisive might be an understatement. Personally, I can get behind this. So much more interesting than another late 60s white guy band. Sometimes you have to cross the line to know where the line is. Sometimes you have to find the boundary and give it a shove or we'd keep listening to the Beatles, Coldplay and Oasis. I would weep for the future. Favourite tracks Weeping, AB/7A, Hamburger Lady. I've never listened to this before and only heard of them as a kind of amusing and mildly offensive band name. I'm glad they exist. Listen again. Did for gold. It's there. This is the most interesting album I have listened to from this list or anywhere for a long time. I get that you might not get it, I do. Five stars. P.S. If your streaming platform of choice autoplays similar music after your selection, you could be in for a treat 😂.

In 2008 I headed into a double-feature: “FlicKeR” was the headline with “Do you love me like I love you (Part 5: Tender Prey)” opening proceedings. I immediately headed over the road to buy “Tender Prey”, Bobby Gillespie’s testimony on “Mercy Seat” more than enough to encourage a purchase. I’ll save my thoughts about Nick Cave’s masterpiece - and how young the interviewees in that film now look, almost 20 years on - for another time, as the film that followed, “FlicKeR” was just as influential to the next years of my life. I responded strongly to Brion Gysin’s ideas, was already enamoured of William Burroughs’ whole vibe, and spent a fair bit of time trying to make my own Dream Machine (having missed an opportunity to see a Dream Machine in person during COVID, I still occasionally check if they’re freely available … be a shame to not try it one day). The documentary featured various musical artists, all pretty cool, talking about their experiences with Gysin’s hypnotic, hallucination machine. Sonic Youth’s Lee Ranaldo was among them, offering his thoughts to camera in a way I’d be reminded of years later standing in Coventry watching The Cribs play “Be safe” – a connection made through time that was pure lightning on both sides. Also on that documentary: Genesis P-Orridge, mid pandrogyne project – so complete a presence, spectacle and aura that I misremembered having seen a Throbbing Gristle documentary distinct from “FlicKeR”. It stuck with me, suffice to say. And then, again, years later, I’m reminded of it. I’m in the Tate Britain at, probably, “Women in revolt” and there’s a whole section given to COUM Transmissions, the precursor to Throbbing Gristle. I remember being humoured by the comments of an offended Tory politician – “desecrators of civilisation” or similar, he’d called them in the 70s. Good on Cosey Fanni Tutti, and good on COUM. Somehow, I again miss the call. I spend a couple of seconds remembering once maybe listening to Throbbing Gristle in 2008, and I move on. And so today, in 2025, I am so grateful for this project. A third invitation to fully engage with Throbbing Gristle is met ecstatically. From the first track, a darkness of beeps - a year earlier in time, but with the feeling of Joy Division’s “Unknown Pleasures” stripped of what joy and pleasure it holds - I am held in place. There’s so much space to move inside music like this, angles to explore, moods to drown in, atmospheres to let crystallise and sit gargoyle-esque atop your central nervous system. “Hamburger Lady” is a standout track; though it’s not album best thought about in that way, really. So soon after the passing of David Lynch - a time that we realise that his work can’t really be taken apart as a filmography; it really demands to be seen as one – I’m pulled into a similar orbit by similarly iconoclastic artists. This is a piece of real, enduring art arriving from within a series of lifetimes that will never be repeated.

Not always listenable, but the bits that are listenable feel like they could be on any electronic album of the last 50 years.

Fuck it - five stars. Feel like this is the kind of album that some people will really hate but I feel like it made me feel like little else. In many ways it precedes dark ambient and a lot of environmental music that I think is mostly seen in movie soundtracks. Rather than any kind of music, the closest thing I can relate to this album is the movie Threads, just in the way it channels this sheer dread and terror. Best Track: AB/7A Worst Track: Blood on the Floor

This is the first full industrial album that I've listened to and I absolutely love it. At first, I had no idea what was going on, but as I continued to listen, I just got sucked in. Now I'm listening to it again. This is a perfect example of why I signed up for this 1001 albums project. This album put me in a happier mood today. There has to be something wrong with me. I listened to this again after I got home for the day and was giggling. Perhaps, it just lets me know that other people have these anxious or dejected feelings, and it makes me feel less alone. Weeping is so good. E-Coli is fun. Walls of Sound and Blood on the Floor ended it perfectly. Poor marmalade though... And Hamburger Lady, Mrs. Beef loved the idea too. Like I said, I must have problems though to give this five stars. I'll figure them out one day.

First time hearing about this group, already a bad start with a rating not being over 2, but that's fine ig. Basically noone likes this, but from what I've checked on Spotify preview the genres are interesting, experimental and krautrock is my kind of vibe so I'm contemplating whether if this is actually that bad. It's industrial music and I kinda love it so I think I'll like this, unless it's extremely boring. First song, it's instrumental?(Lyrics said so). Experimental start I suppose. Kinda Vibing, just waiting for it to be a listenable noise, because whatever this is, it IS scratching my brain in both bad and good way idk. I really liked this, it's weirdly catchy. Wonder how it sounds with headphones on. Low-key transitioned into the Second song, but not as much. I hear a man screaming. Now he's singing, but more like scream singing. Definitely a lot of sounds. Love how nothing makes sense in this, and literally in no way this can be considered music, however, I'm vibing. Not as good as the first song tho. Third song, basically an interlude, which destroyed my ears without headphones goddamnn. Still a bop, just wish it lasted longer and with a bit of progressiveness. 4th song, almost rain like sound. Some talking here and there. Otherwise it's permanent wave(not really tho). I wonder if the talking is from somewhere. There are two people talking too, basically two scenes and I'm guessing it's in different ears, I just can't hear it that way without headphones. Literally nothing else happened, worst one so far, I wish it had more noise, since that's what they do. The talking sounds russian, but it definitely isn't. 5th song, beat is beating finally. Some experimental sound came in, which now sounds like a train. This is the closest Gristle has been to making an actual song for now. Said this many times, but this would be amazing with headphones Imo. Some new sounds were introduced in the middle, but nothing drastic. It's become less of a song, but still good enough. I've checked the reviews and I saw a lot of 5 stars, dunno how it's still the lowest rated album I've ever seen. As smn there said "it's just sound". Honestly the overused sounds and the pattern of some basic ass songs I've listened to here was so mid, this is actually something, they worked for this, it's just a little inconsistent, at first I thought the songs would flow, but they deffo don't, which sucks, because that would be greaaat, especially for this album. 6th song, the lyrics are dark af I think, I'm not sure what the meaning is tho. This one sounds more like a song than 5th one did tbh. His trembling voice is already enough for the song to feel as dark as possible, it's like quiet and overpowered by the sonical part of the song, and it's just perfect with how album has been going. The guitar doing its little part is quite satisfying, possibly the best part in the song, it just fills the song and matched the vibe the voice creates. Just put on headphones and it's muuuch better, I get where the sounds are supposed to be. The voice is in the middle literally, there is a crack kinda sound on the left and the right ear has some kind of harmonica sound. Tho the outro just fades away all that stuff. 7th song, loving the first minute quite a lot. The sounds are distorted and they travel in my ears in the best way possible. His voice is glitchy and hard to hear, but I'm reading the lyrics and it's dark as fuck. There are so many hidden sounds in the song if you listen closely. Some guy talking from the radio is one example. His glitchy voice is extremely satisfying. I hear a car speeding up, but it's not exactly that sound. It's giving Aphex Twin because of that particular sound I can't explain by text. This is the most listened song in the album, I kinda get why. 8th song, little girl is talking, some baby is crying. There's an ambient sound in the background. The girl is definitely British. Left ear is getting new sounds. The girl is talking in the right ear btw. When she's quiet there is just ambient sound with a little bit of experimental beats. A woman voice on the left, but no it's still that girl, she expressed happiness I think. Loved itt. 9th song, an upbeat song? Am I still listening to Gristle wtf. It's too happy for them. Will it have a twist? If not I'm not really vibing with this as much, too repetitive. It's ethereal too if listened closely enough. It was just that beat all through the song, kiiinda not what I want from Gristle, tho if I didn't know other songs, I'd say it's a fine one. Just it doesn't go with the album flow. 10th song, radio speaking in both of my ears, but simultaneously and voice is the same but they're not synchronized. There is an almost violin like thing playing in the middle, but too distorted to be a violin, some industrial sound I'd say. Not very impressed with this one. If I ignore the sounds(impossible, but still) it's a fine fine Aphex Twin like ambient music(well tbh Aphex would use the voices too prolly). The voice came in the middle and the song ended quickly after that. 11th song, I think I'm listening to a dialogue in a phone call. Lyrics were confusing, the girl was angry at that man, but not sure if it was about him cheating or something, but definitely that kind of thing. It was as short as an interlude so nothing really happened. 12th song, great start already. I never listen to noise as a genre, but this is filling my brain with this sound in the best way possible. Many many industrial sounds in between the windy sounds, it's travelling from ear to ear too. Nothing much to say, I just really liked it. 13th song, dark lyrics again. His voice feels like somewhere far, and the quality is bad too, but still sounded like music. Not the best song, but definitely quite different from the others. Actually I'll elaborate on that in my conclusion: First of all, definitely a 5 star album, I do need to like every song to rate it 5, but they're just growers aand I have to give them that additional rate score(would be 4 otherwise) because of being so different from the other albums I've ever listened to here, which changed the whole perspective I have about quality music. I am a lover of experimental sound and this just made the very best sense being this good. I expected a much worse album, the only problem as I said is that it doesn't have the structure of a good album, but that's fine. One last thing, I want more albums from this group or I'll just listen to them myself soon enough.

Very weird, Loved it, way ahead of its time

The timing of the albums you get on here has a big influence. This one came up not long after I watched The Zone of Influence, and I can't help wonder if Throbbing Gristle were a big influence on Mica Levi's work. It has a lot more in common with ambient than a lot of the industrial music that followed. I love the northern voices, the repetitive rhythms, and pretty much everything about it. Best listened to with headphones walking around a city.

You guys are insane, this shit made my gristle throb like crazy!

This album caught me in the right mood. I was all ready to join the pile on, but then I discovered it was a fascinating listen. I found myself groping for images to accompany each track in a way few, if any, albums on this list have made me do. I loved the garbled voices on Hometime and Valley of the Shadow of Death - so evocative of 1970s Britain - which may be lost on many listeners. It's not an album I'll return to frequently, but I'm amazed to say I'll be back. In a list of 1000 albums there should be at least one the goes down this path to explore the limits of the medium.

I love this, and I wonder why I've never dived more deeply into their catalog before. Easy peasy 5 stars!!

I think this is great. Fuck it -- five stars.

not my kind of music

This is such a good album..

Nice find

Bloody hell what a strange one, so happy to come across it though…. Totally unlistenable though😂

All hail Breyer P-Orridge!

Un trabajo sumamente interesante por el colectivo de arte experimental Throbbing Gristle. Con unos tintes de Noise, otros de No-Wave y muchos de Industrial, el proyecto nos transporta por paisajes apocalípticos, sacados directamente de películas de terror. Esto queda evidenciado en el track “Hamburger Lady”, y “E. Coli”. Un indispensable de la música alternativa.

This was a great surprise. Odd and very interesting. Understandable that they show up in the lineage of industrial music.

This was a relaxing listen and somewhat interesting with those unusual sound effects. Worth checking out some of their other stuff.

aqueles albuns que te fazem questionar o que é ou não é música... muito foda.

Performance art is always divisive - just look at the vitriol heaped on Yoko Ono (usually with some nasty misogyny and racism thrown in) by people who wouldn’t know a piece of art if it slapped them in the face with a wet halibut. This album traces a direct line from the Velvet Underground and Lou Reed’s Metal Machine Music, as well as John and Yoko’s primal screams, through punk, experimental electronica and beyond. It’s not an easy listen, and is highly disturbing in places, with some very dark themes and distorted sounds and cut-up sound clips. The surreal and nightmarish soundscapes are deliberately crafted to produce a visceral reaction. On other tracks, the electronica comes to the fore with prototypical beats that you could almost dance to, pointing the way to bands like Cabaret Voltaire and the Fall. Is this good music? That’s for you to decide. Is it art? Most definitely. Marmalade-in-your-face-tastic!

I am utterly beplexed and perwildered. Wrf did i actually just listen to and why do i kinda like it? Is there even an it there? I don't know!

There it is, the lowest rated album. I actually liked a couple songs on here. I like Negativland and the Books and this is a less listenable version of those things. I would rather listen to an album like this than the 4th album of a Britpop one hit wonder band that the author insists is a hidden gem.

There are a lot of different types of music fans. Some switch off when something new challenges them too much, but when I am faced with a challenge, I am going to make sure it’s not my lack of effort that is the problem. To be perfectly honest though, this approach has seen me through so many wild and wonderful avenues that, The Third Annual Report has never been that big of a challenge. I’m old, but I was waaaay too young at the time to have been able to experience this with any kind of context. Consequently, I feel I am more capable of extracting fun from my listens. There is obviously a lot of serious issues being dealt with here and the output is more art than it is music (intentionally or not) but I generally enjoy this album as an interesting aural experience… …I just deleted a part of this review: I was going to make a point about this album; that as an aural piece of art it could be better. I was only going to give it 3* but I’ve changed my mind… A few reasons: -If I hear an album that, despite not trying to appeal to my entrenched ideals on songwriting, melody, rhythm etc. yet still keeps me captivated across its entirety, they have clearly done something right. And I WAS captivated throughout, and I genuinely had fun listening to it. -If they can make a record that poses enough questions that we are still talking about it almost 50 years later, then good questions have been raised. What have any of us in this project done that will be getting talked about in 50 years? If you think you have, then be proud right now! (and also please share, we’d love to hear more about our members!) - Even if they were phonies (which I don’t think they were) the thoroughnesses of the delivery of their conceit is unquestionable. I am happy to be improving the overall score of this album (even a tiny bit) with my vote, because records like this need to be made and the world we currently live in makes it less and less likely that anything this radical being made nowadays will be heard/talked about at all, never mind being talked about even 10 years from now. You could say it belongs in “1001 Pieces of Art you must experience before you Die” but it’s available on a piece of vinyl and afaik, a book with that title doesn’t exist yet. As far as it goes right now it feels like, the more listeners that would be prepared to just have fun listening to some crazy shit without an expectation of it being PinkFuckingFloyd, the better.

This feels like depression. Or alcoholism. Unnerving and disquieting. I will remember "Weeping". Alarmingly beautiful.

i like this album honestly. i think it's really creative. but HOLYYYYY listening to it in my dark room at 12:20 at night is a little scary. i think the album is really ambient and i'm into it. unlike some other albums on this list i find myself curious about what the next song will be like and im actually looking forward to it. some of the other albums can get a little bit predictable with the same sort of songs or albums that all have a predictable, marketable, cliche progression to their songs.

Like Uncut Gems, I'm unlikely to revisit this particular piece of art but I did enjoy it.

I've been looking forward to this one - the lowest rated album on the site. I guess I understand why, with its unsettling voice samples and noisy synth lines and guitars etc. There's a lot of genius here though - people shouldn't throw out the baby with the bathwater just because they feel a big challenged. This was 1978 ffs, no one had heard anything like this before. Its unsettling and dark and creepy, but far from just "random noise" - and some of the songs on here are genuinely great. If you listen, you can hear obvious influences on acts that would come later on. The guitar tone on Hometime and E-Coli sounds exactly like early Godspeed for ex. I also hear a lot of elements of synth pop like Gary Numan, and of course more modern industrial stuff like NIN. If no-one ever pushed the envelope like this over the years, we'd all still be listening to mild variations of classical, jazz and blues. Obviously not something I'd listen to every day, but I'm very glad it exists!

Interesting album. Early industrial vibes. A bit too atmospheric for my liking, however I appreciate the artistry.

always wondered about them

Scaring the hoes (and everyone else as well).

This was as if I was Hit By a Rock.

Surveillance, control Society decaying Same as ever. Yay!!!

somehow i never listened to any throbbing gristle before so when i saw the genre listed as "industrial" i expected something more like 80s industrial? really this feels closer to noise, but it's still very listenable. its definitely another "you just gotta listen to it" album so i'm not gonna get too into attempts to describe the sounds but the sounds are fucking good. "dead on arrival" comes in with synths squealing like power tools, i love the haunting, desolate ambience of "weeping" that continues into "hamburger lady", and "ab/7a" just straight up fucks. my only real complaint would be that the tracks don't really cohere at all, being more a scattered collection of ideas, but on the other hand that means you're getting a lot of variety so it's not even entirely a bad thing. i'll concede that this kind of sound isn't for everyone so if you don't get this album it's understandable, but if you don't even attempt to engage and just outright hate it as "not music" or whatever that's honestly a skill issue. this shit rules. i gotta listen to more tg.

Freaking inspiring for 1978. I think what I love most about it is wondering how the hell they made some of these noises back in that era. The spoken recordings are time capsules in their own entertaining way but on the whole this feels like a timeless art-rock album. Really funny what they did with "Union."

Difficult, challenging, confrontational.

throbbing gristle are a great band ..not everything they do comes across but they are fantastic when it works

Pioneering industrial band, I've been looking forward to this one, because I've never sat and listened to them before.... so far so good... Interestingly this album has the dubious honour of being the lowest rated album on the whole of the 1001 project. I'll be scoring it a 4 today so maybe that will help it off the bottom slot.

My brain is broken now. I kinda like this. The song "Weeping" is a standout. "Hamburger Lady" is uncomfortable and meant to be.

This is the one I've been waiting for. I swear I'm not trying to be pretentious or anything, I genuinely love Throbbing Gristle so fucking much. This album and "20 Jazz Funk Greats" (which I prefer just slightly) are both wonderfully dark and disturbing. These albums are like the music equivalent of a horror movie. Obviously I can understand why not everyone would enjoy this type of thing, but I really don't think it deserves to be so low-rated. Surely this is at least better than Kid Rock, right? Favorite track: AB/7A

Is this music? At the beginning it sounds like someone just recording random stuff and later someone uses a lot of different objects to make noice. I found it quiet odd yet fascinating and I couldn’t stop listening. It created some kind of dark and intriguing atmosphere.

This does not deserve to be the lowest rated album on here at all. There is far more unimaginative crap in this list to be included. Sure an easy listen it is not, definitely the first couple tracks are riding the line between noise making and music. But this has some real groovy sections too, which make the whole experiment worth it. I would honestly rather listen to five more of these albums than another vaguely popular singer-songwriter from the 2000's.

I don't understand hate

It's not an easy listen in the slightest, in fact it's quite oppressive, but I do think it's a project with real artistic merit contrary to what the reviews would have you believe. Hamburger Lady and Hometime genuinely had me feeling uneasy, yet also completely captivated. On others, like Dead on Arrival and AB/7A, you do get some semblance of rhythm and more conventional electronic music, and it's enjoyable in a 'new experience' kind of way. I could see JPEGMAFIA drop a verse or two on that (I looked it up later, and Peggy has indeed mentioned Throbbing Gristle as one of his influences on several occasions). E. Coli, my personal highlight, comes as a chilling track, and their use of sampling really stuck with me -- two recordings of opposing opinions on the ethics of disease testing, one on each audio channel, and a haunting soundscape to accompany it. This sort of storytelling is right up my alley, and from that point I really started to appreciate their musical experimentation. These sounds are impressive coming out of 1978; you could mistake it for an obscure Soundcloud release with 10 listens, but the release period certainly makes it feel much more intentional, and definitely had me approaching with each song like, "what are they trying to do on this one?". It's the sort of album that makes you realize that music isn't just for dancing and vibing, but can actually present art through sound alone. I'm not an art critic and can't find the words to expand much on that idea, so I'll just end this by saying that it was a fascinating, immersive experience. I do have an appreciation for albums that demand to be engaged with in a different manner than usual, so although it's definitely not making it into the rotation I feel like it does deserve a lil 4 here for uniqueness. Standouts: Dead on Arrival • AB/7A • E-Coli

This is really fucking good but it doesn't surprise me at all that the chicken tenders and fries crowd on this website refuse to engage with it. Obviously this is not an album you're supposed to listen to comfortably on the couch with a glass of wine. It's an art project. They are challenging you and trying to make various points with these songs. It's like walking into different rooms in a house and opening up the doors and seeing what you get - noise in this one, dance track in this one, disturbing commentary on ethical dilemmas in here - and you have to evaluate it as a whole work. I would rather have this than yet another Big Star album.

That was really cool. I think if you want to truly appreciate music as an artform, then I think it is important to step out of your comfort zone and listen to music that may make you uncomfortable. Industrial and noise music is so much fun, and there's so much more to be gained from music when you can appreciate music like this.

Interesante, me encanta el ambiente oscuro del album

ig i like this soundscape never woulda put this on but acc might put it on again

Good industrial

I feel like I'm going to be killed

The parents of shoe gaze? Noise? IBM was the giveaway.

4.5

I’m coming in with a solid 4 on this which might be controversial. I think some of it absolutely is music, and some of it is firmly in the sound art world, but for me it works extremely well as a package and was quite an experience as a listen. I can also hear its impact on various noise-adjacent bits I like a lot.

Say you're a scared little cat. A scared little cat who does not like change. Then one day, your peopl bring home some new furniture for the living room, and spend an afternoon tearing apart everything you know and love and replacing it with horrifying, different furniture. Everything is wrong, you were not consulted, but you put on the bravest face to start to explore this abominable new habitat. But the people are listening to D.O.A. the Third and Final Report of Throbbing Gristle, and as you peek your little head into the room, the song Walls of Sound starts. You flee. This is a horror film. This is the soundtrack to a horror film.

What so consistently impresses me about Throbbing Gristle is how unsettling their music is, especially when I remember this was made in 1978 so not on a current-day computer and set of synthesizers. Some of the instrumentals set off my nervous system and fill me with weird dread even though I know I turned the music on on purpose. It's easy to picture them in a horror movie as a basis for setting up a scare. Some of the sampled spoken aspects are appealing to me in the same way Front 242 appeals to me - taking things out of their context and seeing what weird mutations you can do to them. And then there's "AB/7A" which is downright catchy. I feel a little like a petulant little shitbird for wanting to give this a 4 because I know some of their antics lean really edgelord-y, but I do find it compelling how they are making music that most people probably go "ugh! ew! shock value!" but there's some real (in my opinion) attention to and understanding of catchiness and melody in here. It's just being used for evil.

6 Don’t know what it says about me that I was listening to my broken headphone buzzing and cutting out intermittently through probably a minute and a half without realising and thinking it was part of the song but still quite enjoying it! Big up hull as well

I love experimental music like this - even better when it polarises people!

Bibbity boppity

Kuin prototyyppi Boards of Canadasta, mutta vieläkin diipimpää. Vaatisi enemmän kuuntelua, jotta saisi kaiken irti tästä.

Finally something interesting. I was honestly just happy to listen to something different and not the same crappy alt-rock that is pervasive in these best-of music lists. The more industrial tracks were cool, but I could've done without the songs that were just speaking. I'm not going to bring this album into my regular music listening, but I'm glad to have listened to this album once. 4/5

I’d like to think that music from an alien species might sound like this rather than what those jazzy muppet guys play on Tatooine. Or, this might be how aliens will receive the songs on the Voyager. Johnny B. Goode would be completely inscrutable.

juro por deus que me ganhou no ABSURDO som do que parece ser uma data tape sendo lida fora do contexto apropriado? me senti completamente imerso no meu trabalho processando dados enquanto a inumanidade toma conta do meu ser mas com isso, achei MUITO DOIDO jamais teria ouvido falar se não fosse por esse site

CLIMINHA HORRÍVEL nesse aqui hein. descontruindo a música todinha pqp. parece mto o tipo de música que toca em instalações artísticas. mas tbm tem umas pedradaça (gostei mto de AB/7A)!! eh o album com a menor média do site. o foda eh que ele eh MUITO mais interessante que metade (ou mais) dos albuns que apareceram aqui. cê é doido. prefiro ouvir mil vezes esse e outros albuns super experimentais do que 1001 albuns medíocres

Ayy wtf.. I honestly have no real reference point with this type of music..maybe Nine Inch Nails? But this is even more unsettling. I wasn't sure if I was being trolled initially - especially with that band name - but by the time I got to 'Dead on Arrival', I was fully in for the journey. It's got this constant sense of unease running throughout the album, but there are moments of real sensitivity and beauty - I loved the incorporation of the child's voice on 'Hometime'. I'm not sure if I'd revisit this a lot, but it was an experience I'm glad I had - even if it did make concentrating on the Excel workbook I was updating very difficult. Super curious on what this would sound like in a live setting.

It reminds.me of the sort of music you'd hear in an art installation, which fits with the history of this band. It's always interesting, even if not always enjoyable, and I'd take it over a generic early 70s rock record.

It’s mad that this is the lowest rated album on the whole site. There’s so many fucking mind numbingly dull britpop records, this one at least tries to do something interesting. It’s not exactly accessible but it is certainly atmospheric and unique.

Yeah, fuck it, I’m at a 3.5 that I’ll bump to a 4. No, this is not “better” than Husker Du’s “Warehouse”, or any of the other albums I’ve given a 3 in the past. If anything, this 4 is a vague protest vote over this album becoming the lowest rated album on the site for whatever reason. This is… utterly fine. Certainly an experiment in sound, with a few heavily abrasive moments, but I found myself kinda drawn to the weird, eerie atmosphere of this thing, and with a few tracks I genuinely liked. “I.B.M.” is a weirdly atmospheric starter track, directly sampling actual old tape used in computers before hard drives became the norm. “Hit By a Rock” is probably the most middling attempt at a “real” track here, anchored by a sort of “train” percussion that at least keeps the whole thing from feeling like a mediocre tedium. It’s not good, but it’s fine. “United” is a good joke; take your first real single & then speed it up to hell. Little pitchy though. “Valley of the Shadow of Death” feels like sitting in a pub, with a buzz in the brain after you get drunk, vaguely eavesdropping in on conversations your brain can’t understand. The only crime of this track is that it’s 4 minutes long. Same thing applies to “Dead on Arrival”, which feels like a Kraftwerk track corrupted by a glitch; lots of buzzy, abrasive synth work in this one, but at least it’s anchored by a competent beat. The only crime is that it’s 6 minutes long and feels like it goes nowhere, so it ends up being a little boring in the long run. “Weeping” & “Hamburger Lady” are the two highlights of the album for me, honestly; the former feels like a very open & honest confession about a spiral of heartbreak & depression, with the sound design & lyricism being soberingly brutal. It did give me a sort of Nine Inch Nails vibe. The latter just has really cool sound design, with an engine noise adjacent to the accident that inspired the (probably not true, but still) story of the Hamburger Lady, who feels like she’s constantly fading in & out of consciousness with the slightly echoed vocals. “Hometime” is just FNAF ambience set over the noise of a child telling you about her day, which you can go recreate on YouTube right now, if you want. Again, the biggest crime is in the length. “AB/7A” is fun, and I did like it – I just wish the lead synth progressed a little more, but the entirety of the background instrumentation going through a little bit of chaos is pretty cool regardless. “E-Coli” is a fascinating experiment in sound; the ambience itself is sort of mediocre, but the dichotomy of the two lectures from each scientist, with one excited to experiment & the other concerned with tainting nature, each in their own channel, is pretty well done for 1978. Again, it’s just too long. “Death Threats” is ballsy, especially with putting one from your husband’s ex in there. Imagine if Kendrick put on a voicemail from one of Drake’s exes at any point in that beef; it would’ve gone nuclear levels of viral. Immediately following up those death threats is “Walls of Noise”, which frankly, should have ended the album. It’s the worst soundscape, by far, but as a transition to basically say “go fuck yourselves” with, I think it’s kind of hilarious. It also does contain actual sound design within; it felt like a tornado destroying everything except for my house, being forced to listen to the suffering of everything around me. “Blood on the Floor” is… well, it’s there. Probably didn’t need to be. Honestly, the biggest issue with this album is that most of its tracks just linger / meander for too long past the point of being interesting. If this were a tighter experiment in sound, acting as more of a rapidfire push (like, 2 minutes for the longer tracks I mentioned at most), I think this album might be a little more warmly received, at least not to the point of being the lowest one on the site. It’s nowhere near as abrasive as I thought it would be; that horrendously loud “jazz” album we got from John Zorn was much, much noisy / abrasive / “worse” than this. Calling this “nothing but noise” undermines the effort & time it took to actually design this thing – I would challenge anyone who says so to try and recreate some of these tracks, to see if you can do it. Granted, “Hometime” is probably really easy to recreate, but still. All of that in mind, I’m at a 3.5 that I will bump up to a 4, as a vote of confidence for what the album tries to do (and succeeds at doing! just in a “too long” way), as a sort of a protest vote against this having the lowest rating on the site, and as an acknowledgment that this genuinely deserves to be on the list, even as just as an experiment in sound. It is not better than most of the albums I’ve given a 3, but I do think it’s more sonically interesting & compelling than most of the albums I’ve given a 1 or a 2. It’s certainly way fucking better than Haute de gamme or Kid Rock, that’s for sure. I genuinely liked it.

When it started I wasn’t sure I was going to like it, but the more I listened the better it got. Will be on my rotation.

This album is definitely not "good", but it's the probably one of the most interesting things I've heard after 100 albums. Why the rating is lower than all these generic Britpop albums is beyond me.

I had a great time while listening to this. I was walking around, and I imagined myself to be in a really strange film. Not bad at all for the "worst" album, which somehow isn't Joan Baez's self-titled.

"Industrial Music For Industrial People" -Monte Cazazza of Throbbing Gristle Throbbing Gristle's D.O.A. the Third and Final Report of Throbbing Gristle is intentionally abrasive, frightening music, made by difficult, volatile people. Part of me does want to say this is relatively accessible, but "relatively" would carry such a large asterisk that there would hardly be a point; this is a difficult album. Frankly, I like it quite a bit: familiarity with Throbbing Gristle and their satellites is doing a lot of heavy lifting, as is my general immersion in noise music. I would urge you to give this a shot, it really isn't for everyone, but it is exceptional within it's field. This is truly a masterpiece of textural and rhythmic experimentation that, at times crawls towards sound collage. I can't tell you exactly what's going on during songs like Hit By A Rock, but I can tell you that I'm into them and their kind of intense, abstract palettes. Even on an emotional level: there's an intensity, but pinning down exactly what emotion this is trying to convey is possibly a futile effort. I'd also like to take note of a few more "accessible" tracks. Dead On Arrival is an incredible fusion of Throbbing Gristle's "deal" into a more conventional setting, it has this unstoppable groove, augmented by some of the strangest sounds ever put to record. Weeping is a similar fusion with less abstract ideas, but the execution is so bizarre, tortured and frighteningly vulnerable that it hardly reads as listenable: it honestly feels like a Jandek song. Hamburger Lady may be Throbbing Gristle's most infamous track ever. Check out the lyrics to know why. And I will say that after this point, the album becomes *extremely* abstract, but we do get one more conventional song in AB/7A, which almost just reads like an industrial synthwave song. In this song, the path from industrial like this to later stuff like Nine Inch Nails or Skinny Puppy is clearest. I will say that while I do love this album, I don't think it's getting a 5, if only because I have yet to "figure out" some of the sound collage/spoken word tracks here. However, this is utterly singular, bold, and truly frightening at times. Throbbing Gristle conjure a visceral, reptile brain reaction with their music: a rare feat, which must be celebrated.

Never heard this before but I love this kind of shit. And credit where it's due: Genesis P-Orridge was consistently one of the very weirdest people and best interviews ever. Ever.

I really enjoyed this, abrasive and harsh at times but really interesting and ahead of its time. Reminds me of Chrome who I am also really into. Challenging music and definitely not aiming to be pleasant but I really appreciate what they were doing here.

As much as some say it's "just noise", it does seem intentionally designed to evoke a specific mood. Each album is a unique sensory experience, and I am interested in albums that bring about emotions and sensations that few others do. Over the last few years I have developed a high tolerance for unorthodox or "unlistenable" music, as long as it's innovative, intelligent, or noteworthy in some way.

# In-Depth Review of *D.O.A: The Third and Final Report of Throbbing Gristle* by Throbbing Gristle ## 📀 Album Overview *D.O.A: The Third and Final Report of Throbbing Gristle* (1978) is the second studio album by English industrial music pioneers Throbbing Gristle. Released on their own **Industrial Records** label, the album is a mix of live and studio recordings that further cemented the band's reputation for transgressive and innovative soundscapes. It is often regarded as a foundational text in the industrial genre, blending noise, experimental electronics, and disturbing thematic content. ## 🎤 Lyrics and Themes ### Themes: - **Transgression and Shock**: The album explores themes of trauma, violence, and societal taboos. Tracks like "Hamburger Lady" (inspired by a burn victim) and "Death Threats" (featuring actual death threats left on the band's answering machine) are designed to unsettle listeners. - **Technology and Dehumanization**: Songs like "I.B.M." use sounds from early computers to critique the cold, mechanistic nature of modern society. - **Domesticity vs. Horror**: The juxtaposition of mundane elements (e.g., children's voices in "Hometime") with grotesque imagery creates a sense of unease, highlighting the hidden horrors beneath everyday life. ### Lyrics: - The lyrics are often minimalistic, relying on repetition and spoken-word delivery. For example, "Hamburger Lady" features haunting, fragmented descriptions of a burn victim, while "Weeping" delves into personal despair and emotional breakdowns. The album also includes found sounds and sampled dialogues, such as the conversations in "Valley of the Shadow of Death," which add to its documentary-like quality. ## 🎵 Music and Sound ### Musical Style: - The album is highly eclectic, ranging from abrasive noise rock ("Hit by a Rock") to ambient synth pieces ("AB/7A") and distorted electronic experiments ("Walls of Sound"). This stylistic variety reflects the band's desire to challenge conventional notions of music. - Each band member contributed solo tracks, showcasing their individual styles: - Chris Carter's "AB/7A" is a melodic, Kraftwerk-inspired synth piece. - Genesis P-Orridge's "Weeping" features dissonant violins and mournful vocals. - Cosey Fanni Tutti's "Hometime" combines ambient guitar with domestic recordings. - Peter Christopherson's "Valley of the Shadow of Death" uses tape manipulations and eerie dialogues. ### Instrumentation: - The band used homemade electronics, tape loops, and modified instruments to create a raw, unpolished sound. Distorted guitars, synthesizers, and manipulated field recordings are layered to create dense, often chaotic textures. ## 🎛️ Production - The production is intentionally lo-fi, emphasizing grit and dissonance. The original recordings were notably muffled and low-volume, though recent remasters have improved clarity while retaining the album's abrasive character. - The album includes provocative artistic choices, such as speeding up their relatively accessible single "United" to a 16-second blur, mocking commercial music conventions. - The initial pressings included a controversial calendar featuring images of a young girl, which was later omitted due to allegations of resembling child pornography. ## 📊 Influence and Legacy - **Industrial Genre Foundation**: *D.O.A* is a cornerstone of industrial music, influencing acts like Nine Inch Nails, Coil, and Ministry. - **Experimental and Noise Music**: The album's willingness to incorporate non-musical sounds and challenge listeners inspired genres like power electronics, ambient, and sound art. - **Cultural Impact**: Throbbing Gristle's approach to album-making—treating records as art objects rather than commercial products—paved the way for independent and experimental music scenes. ## ✅ Pros and Cons ### Pros: 1. **Innovative Sound**: The album's blend of noise, electronics, and found sounds was groundbreaking for its time. 2. **Thematic Depth**: Its exploration of taboo subjects remains intellectually provocative. 3. **Historical Importance**: As a foundational industrial album, it influenced countless artists and genres. 4. **Dynamic Range**: The contrast between harsh tracks ("Hamburger Lady") and melodic ones ("AB/7A") keeps the album engaging. ### Cons: 1. **Inaccessibility**: The abrasive sound and disturbing content make it challenging for casual listeners. 2. **Inconsistent Flow**: The album's fragmented structure feels more like a compilation than a cohesive work. 3. **Production Limitations**: The lo-fi production, while intentional, may detract from the listening experience for some. ## 🎚️ Comparison of Key Tracks | Track Name | Style | Themes | Notable Features | |------------|-------|--------|-----------------| | "Hamburger Lady" | Noise/Ambient | Medical trauma | Distorted vocals, heartbeat-like percussion | | "AB/7A" | Synth-Pop | Technology | Melodic synthesizers, accessible rhythm | | "United" (sped-up) | Experimental | Anti-commercialism | 16-second duration, ironic inclusion | | "Valley of the Shadow of Death" | Sound Collage | Mortality | Dialogue samples, tape manipulations | | "Death Threats" | Found Sound | Violence | Actual death threat recordings | ## 💭 Conclusion *D.O.A: The Third and Final Report of Throbbing Gristle* is a landmark album that redefined the boundaries of music. Its willingness to confront uncomfortable themes and its innovative use of sound continue to resonate in experimental music circles. While not for everyone, its historical significance and artistic fearlessness make it essential listening for those interested in the evolution of industrial and avant-garde music.

Æ vet ikke ka æ hadde venta mæ, men sannsynligvis nokka verre enn det æ fikk, for æ likte det. Det e kanskje ikke sånt æ hadde satt mæ ned for å lytte på, men det va et gøy bekjentskap i (det æ vil kalle støymusikk fordi æ ikke har særlig bred kjennskap til feltet).

un album davvero "particolare" ma per questo mi è piaciuto molto

Too experimental for me

This some gourmet avant grade shit.

This is the quirky weirdness I live for! :) I enjoyed it as a collage of noises and found sounds, I feel like they did precisely what they set out to do. I couldn't say I'll listen to this daily, but I'm glad to have heard it and will dig into their discography properly :)

I can totally understand why this wouldn't be everyone's cup of tea, but it happens to be mind. There's definitely a range of quality in the record, but overall it's a brave experiment in sound; just enough textures, noise, ambience, and danceable rhythm to be pleasing, as well as impressive. I hear a lot of bands I love in Throbbing Gristle’s second LP Highlights: “Hit By a Rock”, “Dead On Arrival”, “AB/7A”, “Blood On The Floor”

Interesting industrial music, will have to try more of this genre

This is a very difficult decision, in terms of how to actually rate this album. There is something oddly captivating about this album. While the tracks themselves are not really music at all for the most part, you seem to be drawn to it and just listen more intently than something that is more enjoyable but can be ingested with a more distracted mind. As a musical album, this would easily get a 1/5 but then again, as an experience from start to finish, I would be more inclined to give it a 3.5 or even a 4/5. Good: Weeping (Weirdly calming, especially the plucking sounds), E-Coli (Nice long drawn out strings - Favourite "Track") Weird: Hit by a Rock (Comforting Strumming), Dead on Arrival (Semblance of Music, almost like a single splices of a full song with the rest muted.), Hometime (Almost a Yin and Yang of the ominous tones, and child dialogue balancing each other.), We Hate you - Little Girl (Jesus Christ) Meh: IBM (Annoying Shattering Noise), Valley of the Shadow of Death (Just a conversation). Would I ever listen to this again, no but I would definitely recommend it to others who have not heard it yet.

Classic industrial. Love how weird and non-musical it's willing to get. Hugely influential on the genre too.

Nice

Listened to this a number of times, feels like a true art project and I guess that’s why I enjoy it. It’s both intellectual and completey pedestrian all at once.

Wreckers of civilization, transgressive performing artists exposing the dark side of human civilization, Throbbing Gristle. This album is supposed to make people uncomfortable. Mission successful, well done!

Yet again, and album thats actually interesting gets terrible reviews on here. This one isn't even that noisy? It's barely noisy at all it just has "found" sounds. I thought it was fairly impressive. A bit too like trying to be edgy for the sake of it, but still worth listening to.

Weird and kinda cool. I would probably never listen to it again though.

oops i like this

If you’re expecting a four-man rock band, of course this doesn’t sound like music. Taken as eerie horror movie ambience, it’s excellent. Despite trying to not like this I found it intriguing and entertaining the whole time.

First ever listen. Bloody loved this.

To be honest this is a pretty interesting sound collage. No different than you'd find on The Beatles Revolution 9 or Tom Waits Bone Machine or Radiohead's Kid A. People giving this album 1 star are just doing it to fit in. Give it an honest listen.

Genesis P-Orridge was described by Alex Petridis as having "a grating, Mancunian-accented whine that somehow manages to sound out of tune even when there is no apparent tune to be out of." It is refreshing to have an album that demands a response, and which makes you think about the music that is a daily listen. This is an exhausting, confusing, demanding noise - uneasy listening, and all the better for it. More of this kind of din, and less landfill indie.

Weirdo music, but there's nothing else like it, and originality is a rare commodity in music.

Gave this a couple serious listens, and honestly loved it. Only had a passing familiarity with their work before. Yeah, it's challenging at times, but in interesting ways, by turns brooding, bleak and beautiful, and always human throughout.

Did I enjoy this? No. Will I often go back to it? Oh no. But does it deserve to be the lowest rated album on this list? No!! Something kept me on the edge of my seat. I kept wondering what would happen next, which happened to make me listen incredibly actively. 4 stars because they seem like assholes in real life

This is #day290 of my #1001albumsyoumusthearbeforeyoudie challenge, and... what a beautiful Sunday morning listen! As I spin this record, I'm tracking my wife's flight from Oslo to home. She's wrapping up a short vacation, and being an industrial fan, she'd probably enjoy this one. Now, I like my music to be challenging sometimes. When it's unsettling and eerie... The kind of music that makes you think, or takes you places. D.O.A.: The Third and Final Report of Throbbing Gristle is exactly that. An early specimen of experimental electronics and industrial, a sound kaleidoscope, a movie without images. This is my first experience with the band, and it's a great introduction. I didn't know (or, maybe forgot) that Peter Christopherson was a member of Throbbing Gristle. As an occasional Coil fan, that makes this even more interesting. Sadly, there's absolutely nothing on this list by Coil or, say, Psychic TV. At least, there's Neubauten. This is a 4 out of 5. Looking forward to #day291.

as incediary and destructive as they are, they really are putting themselves out there with this album. its very believeable in a sense. if you listen to DOA and think "this must be a joke" then id say the jokes kinda on you lol. the soundscapes are this torturous and relentless mechanical nightmares, hard to conceive as anything other than a kaleidoscope of black, gray and deep blue assembly lines, stiching toguether sonic amalgations one may struggle to call songs, but the lyrics are grounded by this sort of brutalized humanity that i can only read as sincere. the only people who can get to see it face to face, however, are those willing to drown in the endless gears and machinations of each track and meet the art halfway. when observed from a comfortable distance, DOA seems like gibberish. not their best album, ive issues with the pacing and it doesnt totally pick up until Dead On Arrival, but this is truly a stunning effort.

4/5

this was a super weird album but i have to respect it. filled with a bunch of essentially musique concrete songs with a couple cool techno tracks thrown in for good measure. torn between 3 and 4 but im gonna go with 4 based of off getting an album like this even on this list

Haha God what has happened to me, this is the kind of shit I would have HATED a few years ago. But after having been made to listen to so much glitchy electronic ambienty shite these last few years (new partner and his friends) whereby I have gained a real appreciation for well constructed noise, I actually really quite like this and think it's very good. I also feel like Hometime is undeniably lovely, no? Is it Emperor's New Clothes? Have I just been indoctrinated into the world of pretending you like shit music, and over-intellectualising bloops and bleeps? Perhaps. In any case, I can see this album's influence on proceeding electronic music and think it's very listenable and not the total load of rubbish one may immediately think. Feels like I'm at an exhibiton.

ab/7a is a great song

Post-war, post-environment, post-joy: "Industrial music for Industrial people". The first track may immediately alienate, but lean in and turn it up.

I'd heard a few of these tracks before, but never the whole album. Some of it is actually quite traditionally musical, while other parts are less so. I actually preferred the second half of the album to the first for some reason. I was expecting to find this a challenge, based on other reviews, but it turned out to be far more enjoyable than I would have thought. I don't think it's quite enough for 5 stars, but it's definitely thought-provoking and influential enough for 4.

While the industrial sounds of Einstürzende Neubauten's Kollaps dealt with the mechanical realities of life in factories, Throbbing Gristle's D.o.A. features a more sinister and perverted approach to industrial. Signals, ominous tape playback, blasts of sharp synths and feedback: these make up the modern world in the eyes and ears of Throbbing Gristle. There is a constant anxious tension that invades every note of D.o.A., as if to revel in uncertainty and fear. The album's centerpiece is Hamburger Lady, a song that sounds like a nightmare you can't wake up from. This song in particular effectively builds on the dark work of Suicide, especially the song Frankie Teardrop which came out just a year earlier. Side B certainly feels more haunted than side A. It makes sense that not a lot people like this. Throbbing Gristle have always been more like conceptual performance artists rather than musicians, but there's no doubt that there's a lot of weight to this album. A keystone album for industrial.

The Good: a throbbing gristle… The Bad: it is dead on arrival… The Ugly: once dead, it’s just a gristle… What the hell did I just listen to? And what is a gristle? Anyone who enjoys Pink Floyd circa Dark Side of the Moon, or The Wall, will enjoy this… I know I did. Do I find this industrial? Not really… unless I am mistaken about what industrial is all about. I will have to give this several more listens to get a better idea if these gentlemen are pure genius, or they just realized that stealing is a nice art-form too! For now, I will happily give this album 4*

"tHiS iSnT eVeN mUsIc!" You know what Dave? After the 350th fucking 80s new wave British pop, you should be grateful.

I've seen enough video essays that bring up this band to know what I was getting into, and I remember trying to listen to them s couple years ago and thinking this was unlistenable. But I don't know, I kind of enjoyed this. You kind of have to think of it more as art than music. I also became a lot more of a fan of noise music in the past couple of years so that helped. Realistically I think this is a high 3, but I'm going to give it a small bump for being really interesting, ahead of its time, and I want the kid rock album to be the lowest rated. Low 4.

Morons on here getting mad that there aren't any melodies and it gets a bit wierd, as if Throbbing Gristle were trying and failed to make Rumors. It's not really an album you put on to rock out to, but a meditation on bleak alienated life, on the grind of late industrial Britain, on the rotting urban fabric of the 1970s. It's the bleeping and fraying electronics of a barely functional life support system. Musically it draws on ambient composition styles, krautrock explorations of synth/tape loop technology, darker psychedelic approaches to creating strange mental states through drones, repettition and rupture, punk embrace of noise, and the kinds of sounds you'd associate with video art and multimedia installations. All of which creates a collage that captures, reproduces, extends, and aestheticizes a set of nasty latent public feelings: anomie, aggression, resentment, despair, indignity, exhaustion. Of course it isn't pleasant! Favorites: Hamburger Lady, AB/7A, Dead on Arrival, Weeping

"D.o.A: The Third and Final Report of Throbbing Gristle" is the second album by English industrial band Throbbing Gristle. Some of the descriptions of this album include "invites comparisons to Lou Reed's "Metal Machine Music," Brian Eno's obscene phone calls and the sound your refrigerator makes when it short circuits" and also a "nauseating masterpiece." This sounds right up my alley. The bandmembers included Genesis P-Orridge (vocals, bass, guitar, violin, effects), Coney Fanni Tutti (guitar, effects, tapes), Chris Carter (synthesizer, electronics, tapes) and Peter Christopher's (tapes, electronics). The album begins with "I.B.M." Distorted layered electronic noises. Guys talking. Beeping like someone is entering something into a computer. And an annoying saw-like electronic noise. Oh boy, off to a good start??? Violin strings and P-Orridge wailing, yelling and singing "Hit Me" start "Hit By a Rock." There's various electronic noises and a wobbly synth noise. This song reminded me of the band Suicide. Racing car noises pervade throughout "Hamburger Lady." P-Orridge's soft, distorted vocals tell the story of a burn victim spending time in a hospital. Echoing guitar strings accompany. "Hometime" has a droning, ambient sound. Kids are talking and babies are crying in this relatively happy song. "AB/7A" may be the only song close to a normal song. A drum beat and a layered synth melody. This might be an ode to Kraftwerk. There's bell sounds and actual changes to the beat and synth keys too. There are very few songs on this album that resembles anything close to what someone would call a normal song. The whole album resembles a horror-film soundtrack where the theme is making everyday life experiences frightening. Everything is about the noises and atmosphere. All the vocals, besides the baby crying, are muffled and distorted. I found this album both creepy and fascinating. It's probably in its own catergory for the time or any time for that matter but I do hear influences in the future work of electronic and industrial bands and Radiohead. I have no idea of who I can recommend this album to except those who can appreciate a soundtrack-like approach to weird electronic noises and creepy atmospheres.

Из вредности хочется поставить пять. Удивительно, что эти же люди, которые въебывают этому альбому 1 из 5, потом пишут, мол заебали эти британцы выбирать однообразный нонейм кринж, а потом ставят пять очередному блюз-рок альбому в духе Black Keys. Это не первый альбом группы, который я слушал, и поэтому я в целом был готов к прослушиванию. И, честно сказать, это охуенно. Мне в целом нравится вся эта саунд-коллаж тема в современной интерпретации (но, выходит, не только в современной). Альбом прямо течет - 40 минут пролетели незаметно (при том, что я был сфокусирован на происходящем!) Лучшая песня - Hit by a Rock.

that's it? that's the lowest rated album on the generator?

I'm quite familiar with Throbbing Gristle, due to a documentary my parents put on TV one night and the fact my mother had a previous boyfriend who was really into them, but had never got round to fully listening to any of their albums, the only song I know from this one being 'Hamburger Lady' which is the most well known on the album. I would not recommend listening to it in a parked car in the dark on your own. It's the sort of stuff I know I'll eat up though - haunting digitalized screeching, early industrial noise, experimental stuff. I do prefer the ones that have at least some steady beat, and I wonder if some of these benefitted from having visuals as they were more of an art collective than just a band. Some songs on this album gave me the same effect being in a dentist's chair does - a sort of grinding that puts my teeth on edge and makes me salivate. Yet, I absolutely know I will listen to this again. I think 'Hamburger Lady' marks a turning point for the album where it starts to resemble more traditional music. I like the recorded voices and talking over the liminal music, it's very me.

Genius

I thought I'd hate this but.. loved it? It's like the soundtrack to a brilliant film about the apocalypse which you've never seen. Worth listening to all the way through and just letting your imagination go with it. Will return to it.

Guess it’s official that I like post-punk. Enjoyed this more than I thought I would. Favorite was AB/7A, and Hamburger Lady.

I'd be lying if I said this was my ideal listening but I do recognise that this album was an important milestone in the development of industrial music and it's nowhere near as awful as some of the deluded muppets on here calling themselves reviewers would have you believe. You just have to remember that it's an art project.

I had an alright time with this, why not? The four tracks from "Hamburger Lady" to "E-Coli" were top. No whatsoever problem here. I think "industrial" might be a misnomer. What else, uhm... this other review got a Thumbs Up from me: "this album is everything that punk pretends to be."

Not sure how this album made it onto this list, but it was a surprise (in a good way).

Woah, this is genuinely very cool. It’s unsettling and beautiful in that vague way that’s almost uncomfortable, but ends up being much more enticing than off-putting. When I started listening, I was working on something else, but I found myself getting so drawn in to the environment of sound and the images it conjured that I couldn’t concentrate. I was kind of dreading this when it popped up since I don’t generally like industrial music (and I expected this to be especially abrasive), but it ended up being a really pleasant surprise. I would love more weirdly beautiful shit like this to pop up in the list. In places, the atmosphere totally invokes the game Yume Nikki for me. (Specifically Dead on Arrival, AB/7A) Favorite tracks: Dead on Arrival, Weeping, AB/7A

First time since I started this (700+ albums ago) that I’ve listened to an album a second time immediately after the first listen. It’s not great but it is strange and weird and fun and adventurous and different and has an air of insouciance that is simply absent in most pop music. (Yes, I think this is pop. We belong to an ecumenical place of worship.)

More music should sound like this. Most music, in fact.

This album is definitely better than The Second Annual Report, but it seems a bit less adventurous and avant garde at the same time. All in all, it is a pretty good album, and an excellent example of Industrial music. It is absolutely worth a listen, and I'll probably be listening to it again in the near future.

Whew, I was not expecting to get a Throbbing Gristle album on this list. Lmao My first time hearing Throbbing Gristle was my friend Cory playing Hamburger Lady. It horrified me. It felt like I was listening to what an eldritch being or alien was attacking me with over psychic waves. Like I still get an unknowable unsettled feeling when I hear it. As for the album, it is an incredible piece of experimental art. Throbbing Gristle’s work is singular in the exploration of sounds pleasant and unpleasant. I feel you can hear the influence TG had on artists like Aphex Twin, Nine Inch Nails, and ,distantly, Oneohtrix Point Never. Granted, those artists took a different approach to musicality in their art but the impact of the challenging and horizon expanding art TG created still stands. In comparison to the vast majority of albums on the list, this album feels like a gremlin escaped from it’s hidden world and found belonging with outsider art appreciators. Fun bit: United was actually a single with much broader appeal but they decided “f*** it” and sped up the 4:04 long song to 16 seconds on the album. Standout track?: Hometime

What an album! Definitely a new and interesting sound and I didn't even realize what was going on. I would definitely call this art and would say there is something special here. These are people trying to create something new in the world.

Patient, aggressive and grating. Before even looking at the other reviews I'm willing to bet most people hated this. I like electronic, ambient and noise. Those genres wouldn't be the same without Throbbing Gristle.

Oh... wow. This was good actually! Was dreading it a bit due to how low it's rated but I was pleasantly surprised. This is not an easy listen, but to me it was a fun listen. Noisy, dark, and challenging. I would actually consider giving this a 5 star, but I think it loses a star for me because I can't see this being a big relisten one. I do think I'd reach for it in the right mood though.

Okay, I'm prepared for the incoming pretentious, fart sniffing, pontificating allegations. And I ain't beating them. I'm also not going to go to war with everyone. I'm just going to put my best case forward for this album. Talking Heads realised their first feature Length album in '77 it was wildly ahead of its time in predicting the sounds that would define the 80s but also in its sampling, editing and production techniques. This only grew on future albums. Similarly, even earlier White Light / White Heat by the Velvet Underground came out in 68 and capture the textures, Fuzz and Punk that would explode in the early 70s with Branca, Sonic Youth, the Swans and all other subsequent alt rock and Punk projects of the late 70s and early 80s What does this album have to do with any of that? It released in 78 and was riving that second end of a decade wave of innovation. No-one was making sounds like this this, except for Eno and before him Halim El-Dabh on his single Lady and the Poet single and some faggots out of Princeton Uni music department. There's probably others but those are the ones I know of. I was disappointed by the track hit by a rock cause it felt like it was going somewhere but didn't. I felt as though not only is the album deeply experimental but it has nothing to show for it. Thankfully I didn't feel that way throughout. In fact everything up to and including Dead on arrival didn't amount to much other than an early use of sampling in this manner. However, weeping blew me away, this track came out nearly 50 years ago and it sounds like an experimental track that would have came out today. It's so unique and beautiful and sad. Hometime pushed me, the moments of babies Cries really got under my skin. And that was the point. By experimenting with sampling you are able to create soundscapes once unthought. Music doesn't have to be catchy and danceable it can be foreboding and scary. This track filled me with a sense of dread. Very cool. Hamburger lady minus the vocals if used for the Soundtrack of a contemporary horror film would receive praise for its building of tension, the imagery associated with it is immaculate. Some people are amazed that Aphex Twin developed some of his early works in the mid 80s, AB/7A came out in 78, c'mon you gotta admit that's pretty cool. I feel the same way about E-coli as hamburger lady, could make it onto a horror movie Soundtrack today and no-one would bat an eye and may even give it praise. Walls of sound, is a premonition of the looping soundscapes of no-wave and influence as mentioned above that would dominate the early 80s and have a lasting impact on all alt rock going forward. This album reminds of Enos album another green world. And while he might have beat them to the punch this album is certainly remarkable and influential for its time and certainly deserving of a spot on the list. What people need to understand is, that this album while not to most peoples taste isn't a Flaming garbage heap, it's not just banging noises together. I've been to dogshit live noise shows, anyone can bang some shit together and call it music. That's a 1/5. This isn't that. This is well composed, influential, ahead of its time. It had structure and nuance. 8/10 Fav tracks - IBM, Weeping, Hamburger Lady, Hometime, AB/7A, E-Coli, Walls of Sound Least fav - none really

Lamenting that I didn’t rate that Hanoi Rocks record higher

i had no idea what to expect it's not the kind of "industrial" that i'm used to, but this is pioneering for 1978 at times it feels very uneasy and at others its legitimately depressing there are some kind of weak spots for sure, and that's to be expected. it's not the greatest thing ever, but it pleasantly surprised me.

Nothing makes me happier when there is an artistic movement that pushes boundaries and then one artist decides to take those boundaries to the most obscene conclusion and destroys the movement in the process. I love the idea of this band, but I will never listen to this ever again. It actually made me a bit nauseous. But clearly some of my favorite bands are inspired from this. I also think it's hilarious that reviewers think they can make this. Fucking do it then.

So far, one of, if not the most insular and alienating set of songs I've ever heard. As such, I personally found myself interested and engaged but it was pretty rough. Will I revisit? Yes, but not too soon.

One of the first forays into industrial music for me in high school, was a band that lead me to a lot of really amazing music... I really enjoy it but I feel that they're one of those bands who are a bit more influential than good

A harsh symphony of automation, an early industrial opus, forcibly welcoming listeners to its uncompromising mechanical dreamscape.

General deconstruction of what music even is to a point of balance between quirky and creepy.

is it good? not really. will i be listening to it front to back all the time? definitely not. is it more interesting and engaging than 60% of the stuff on this list? absolutely. is Hamburger Lady cool as fuck and AB/7A a banger? you know it

habe ich nicht verstanden

Dank.

It's the incredibly difficult but also incredible boy enjoyable if you can get past it's intention to push away the squares who just want to hear a white man doing plodding songs about love or rawk and roll. This is the balance I needed after being forced to listen to Clapton and U2.

I really enjoyed the experimental instrumental parts of this album. It was almost like listening to a piece of art instead of music. I didn't care much for the vocals of the lead singer, but most of the tracks used this type of vocal work sparingly or not at all. Overall, an interesting album from a genre I'm curious to learn more about.

Uncompromising

It's been a while since I've heard Throbbing Gristle's "20 Jazz Funk Greats", but from my recollection, I don't remember it being nearly as mind-altering and proto-industrial and noisy as this album is. Aside from that, I'm familiar with TG member Peter Christopherson's later endeavors with the great post-industrial band Coil but that's about the extent of my knowledge of TG. If I had to say anything about this album, it's that I think the most mind-blowing thing about it is its release date. I think a lot of the songs on the album blend to form one large directionless void. It's all unsettling, there's not a single earwormy or straightforward track here. The electronic, glitch, distortion effects, and sheer power electronic vibe of this album may not sound so impressive today in the era of post-industrial electronic giants, but it's not hard to pinpoint just how many artists this record could've influenced. When paired with the technological limitations of the time, this album's existence alone is quite a feat and makes it worthy of praise. As for the individual songs, they're still pretty enjoyable and distinct. Again the drones and walls of noise are all there, most notably on "Hamburger Lady" which has these vocals drenched in bizarre vocal effects paired with these strange piercing and high-pitched shots of noise. "Dead on Arrival" may be one of the most direct tracks here, it has several facets and phases and has an electronic groove that sounds so modern it's uncanny. "Wall of Sound" is probably the most haunting and bone-chilling track here, you can probably infer why purely based on its title. The thing I love about this album is how it's influential yes, but it's not "watered-down influential"; that is, the music it inspired doesn't outshine or overshadow it, and its potency is still prevalent even in retrospect. Too many times with influential albums, you can tell that they're very much "prototypes", that's not the case here. It's not clunk or aged in any way. The more "serene" and less noisy tracks with hazy, detuned blushes of noise like "Weeping" and "Hometime" are just as enjoyable as the noisy songs. Many of these songs are paired with either bizarre singing or interesting and uncanny field recording snippets or tapes that are seemingly random, but also tell a story. The tapes on "E. Coli" are probably the most unsettling, it feels like you're listening in on some forbidden memo about some super-mutant bacteria over these uneasy string-sounding synths. "AB/7A" may be the easiest song on the ears here, with a gorgeous ambient proto-EDM groove driving the entire thing, it's a gorgeous moment on the album. While not perfect by any means, this album's existence alone I think is worthy of praise. It's not music for everyone and I understand hating every second of this, but for my ears, I think it's a very cohesive and enjoyable electronic experience.

Ce n’est pas harmonieux, c’est à peine mélodieux, ce sont des sons assemblés, des voix monotones, mais une exploration cohérente qui brosse un portrait de nos environnements sonores

A name I knew of but didn't really pay attention to. Controversial artwork aside, some of these tracks could be tracks done by bands like Kraftwerk and other Krautrock groups. Surprisingly some of the more aleatoric tracks still are a cohesive listening experience. I'm curious to listen to more, but I always associate industrial music to be a bit more heavy sounding and some of this was downright pleasant, although I'm a weirdo.

interesting experimental sounds - I liked better than I thought.

These are they types of weird experimental albums I hope to find once and a while. I haven’t heard this one yet, but I recognize some of the things that they do and wonder how much that influenced bands that I’ve listened to.

I'm surprised at the sound of this album. For an Industrial album, I expected something loud, abrasive and noisy. And while there are moments like that, such as in the tracks Hit by a Rock and Walls of Sound, what underpins this album is an understated, unsettling ambience. Opener I.B.M is a great introduction, setting the tone with lots of random noises building tension around an underpinning signal. Weeping starts oddly serene with an echoing guitar, before quickly turning to that muted sinister sound. Most understated sounding song goes to Hamburger Lady, which somehow is the most famous song from this album as the lyrics are gruesome. It's this variety of sound that makes this album influential. I get flashbacks to Boards of Canada in Hometime, with its explicitly homely, childlike veneer over something dark, as well as Kraftwerk in AB/7A with its simultaneous chirpy and cold sound. And Steve Albini must've surely listened to those chainsaw guitars on Dead on Arrival. It's that focus on almost homely horror, instead of the baroque operatic shocking the genre would (d)evolve to in the 90s, that makes this album great and probably made Throbbing Gristle hit too close to home for all the conservative haters calling in in Death Threats. (Still, it still feels that with the original album art (and that includes more than the cover) it does cross a line like those acts in the 90s did. And a cursory Wikipedia read about it's members is... not reassuring) Light 4

It kinda made my head hurt, but like, in a good way? There were only two tracks I could do without (Valley of the Shadow of the Death and Dead On Arrival). The rest of the album was interesting, and I’d happily listen to it a few more times.

I’m perplexed how this album is currently the second lowest ranked on the whole list. I get that industrial is not for everyone, and I’ve never considered myself a fan, nor do I now, but this thing is actually just a captivating listen. Throughout D.O.A. the band creates so many moods ranging from confusion to discomfort to tranquil to overwhelming, and each is executed really quite well. I may not come back to listen a second time but I’m damn sure happy to have heard this album at least once. 7/10

i rather enjoyed this. I wasn't exactly sure what to expect, what with the industrial label being attached to these blokes and whatnot. I was startled by how varied the whole affair was, and yet there was definitely an overall aesthetic at work. Some of the tunes reminded me of Pere Ubu. Some sounded like "Revolution 9" meets Eraserhead. More surprising still, I found myself nodding along with some of these tracks. In fact, I was openly singing Blood On the Floor for several minutes after the song was over. I say, bravo, Throbbing Gristle!

4.2 - I'm a young boy again, laying in bed, feeling my eyes get heavy with sleep. My window is open and I can hear the cool summer breeze rushing through the trees, as well as the occasional car creeping by on the street. In the next room I hear the sound of a sitcom playing on the television, characters talking unintelligibly over a laugh-track. I'm hyper-aware of my surroundings and I haven't yet learned how to tune things out so I'm dazzled by how the strange, disparate sounds create a messy symphony in mind. That's sort of how I feel listening to this record.

Fantastic sound, love the noise.

Fax noises at first but improves to something interesting

Aan de hand van de reviews verwachtte ik vervelende drukke herrie (een soort Black Midi - Hellfire) en dat is het helemaal niet. Het is redelijk minimalistisch en rustig juist. Dit bevalt me onverwacht goed. De meeste nummers klinken alsof ze uit soundtracks komen van films/games die ik goed vind. Misschien dat het me daarom bevalt. "Hit by a Rock" past in de film 'The Sound of Metal'. "Dead on Arrival" past in 'Requiem for a Dream'. "Hometime" en "AB/7A" zouden zo toegevoegd kunnen worden aan 'The Fountain'. En "E-Coli" zou mooi passen bij 'The Last of Us'. Als het album was gestopt na track 11 had ik zelfs 5 sterren gegeven, maar de laatste twee nummers zijn kut, dus wordt het een 4.

Not normally my scene, but I get it. Pretty cool! B

Chaotic bunch of noise that rips through the norm. Not a comfortable listen but not all music needs to be. Bonus points for just how influential this is, even for the bands that have listened to Throbbing Gristle

If you are looking for music, keep looking. But as soundscapes, ambience, experiments, there is something here for you.

People will listen to jazz and say it is art, then listen to this and give it 1 star. Those people are wrong.

Haha! China aussi ne comprend pas le concept pseudo-pédophile du cover. Moi aussi. Tout le monde je pense.

Vraiment pas la pire affaire qu'on a eu à date. La musique concrète ça me parle quand même et l'industriel aussi. Mais la démarche artistique mortifère me rebute. On en a déjà assez de vivre dans une société qui cherche chaque jour à plus mourir, pas besoin de ça. J'aime beaucoup la pochette par contre, même si j'ai pas trop compris le concept pseudo-pédophile avec la photo de kid en bas à droite, et qu'ils vendaient ça dans des cartes?

This feels like more art than music if that makes any sense. I get that it’s not easy listening, and it’s not going in almost anyone’s heavy rotation, but this was really cool to experience at least once.

Well, the day has come for me. Today, I got the lowest-rated album of the generator at the time of this recording. I'm not surprised with how it got here. Throbbing Gristle are considered pioneers of industrial music, which by its nature is very unconventional in the use of tape editing, distorted loops, and homemade instruments instead of the typical guitar, bass, and drums. In fact, Throbbing Gristle were very much opposed to the traditional rock music structures, as they sought to challenge their audience to explore the darker side of humanity rather than make attractive music to placate the masses. In a way, I respect their intentions, and I don't expect the music to immediately connect with me like what I usually listen to. With all that in mind, I gave D.o.A: The Third and Final Report of Throbbing Gristle a listen, and it took me a bit to acclimate to their style, but I got there eventually. There's an almost ambient quality at times with the group's approach to combining tape loops, spoken word, oscillating synthesizers, and other such atypical electronic effects. Whether it's taking their previous single "United" and speeding it up to only 16 seconds long, reconstructing a conversation heard in passing with background noise on "Valley Through the Shadow of Death", or the filtered vocals over the electronic whirs on "Hamburger Lady", there's quite a variety in song deconstructions on this record. I found myself intrigued with some of the spoken word pieces like "Weeping" and "Hometime", leaving me curious as to why these particular tapes are arranged over such strange soundscapes. Of course, my personal favorites were the few tracks that feature steady clanking beats, like on "Dead on Arrival" with the buzzing and squelching noise effects, "AB/7A" with the grandiose synth flourishes, and the absolutely pummeling dirge that is "Walls of Sound". I personally don't consider every experiment to be worthwhile, particularly some of the shortened tracks like "Death Threats" and "Blood on the Floor". But more often than not, I was engaged with this album. Again, I don't typically listen to this kind of music. Even compared to later offshoots like industrial rock and industrial metal that return to more conventional song structures while still embracing the distortion and tape manipulation, what Throbbing Gristle did on D.o.A: The Third and Final Report sounds foreign by comparison, and I think that's the point. It was a respectable challenge that certainly got me to appreciate the overall genre more with its abrasive DIY approach.

This piqued my interest pretty well to begin with. I quite enjoyed the journey, but it got a bit old towards the end. Reading up on them, they seem a very interesting bunch of performance artists (if that’s what they are?) albeit on the extreme/uncomfortable side. I’d probably listen to more, but from what I’ve read on their live performances, they’re too much.

Certainly an album, hard to say it was an album of music. Going to be a very edgy contrarian and give this a 3, meeting it on its terms as opposed to expecting such things as songwriting and chords, and appreciating it for the total creepiness of Hamburger Lady and the bizarre aura it lent to breakfast. I will NOT be returning

I didn’t hate it. I was expecting this to be way worse than it actually was and was really surprised that I found myself enjoying some of the moments (but also being incredibly unsettled by others). Actually very impressive to make a noise album that actually kept my attention and was surprisingly dynamic. Yes it was a challenging listen and not something that I would put on to relax to but it made me really question the intent of music and what the goals of an album like this are (enjoyment or a purely artistic expression of the musicians). I think I would enjoy this a lot more as a film score or level design in a game that wanted me to feel a certain way. Definitely an album to play to test your friend who loves all music and doesn’t care what you put on in the car

fuckin noise but at least it's better than 80% of the generic britpop slop

Points for being wholly original and mostly disturbing, but I do question whether there's any talent actually present here. 2.5/5.0: Mixed

Does this deserve to be the lowest rated album on this site? I don't think so. It's weird and experimental but that was the point. I guess you could argue, is it music? But that still makes it better than all the other middle of the road nonsense that's unoriginal on this list.

Interesting but won't be listening to it again. I guess it's a must listen even if it isn't your cup of team just to understand what was going on during this period. You can definitely hear the influence of this band in a lot of the newer industrial and noise artists.

What a divisive album. Understandably. Wasn't keen on this to begin with. Didn't do much for me on the first listen through. But once I listened a couple of times, I appreciated it a bit more. Definitely can see why people don't like it, but I can also appreciate those who love it. It's clearly influential for the time.

The gut reaction is I liked it way more than I expected. A little more melodic than 20 jazz funk greats which I think is there more innovative/acclaimed album. Would I listen to it on the regular? LIkely not. However, cool that it exists this early in modern recording history.

I’d much rather listen to this one than some boring stuff, which is just a waste of time. I like track 1,5

Enjoyed this more than I expected to.

Look, this isn't meant to be an easy listen, and I think the fact it's borderline unlistenable prevents it from being rated any higher, but as a statement of art, rather than a piece of music, it's undeniably effective.

Very forward thinking

6.5/10

Much better than I thought, based on the other reviews. There are certainly other albums on this list that I would consider more offensive.

My initial thought on this was, “What the heck did I just listen to?” But reflecting on it more, beyond the weird vocal level there is a distinct quality to the noise they produce. I don’t think I would say I enjoyed the album, but albums that push the boundary of what is creative deserve to be on the list more than another punk album. That said, I don’t have an answer to the original question

Apparently this is the lowest rated by others album. I understand why as it's mainly just noise but I didn't think it was that bad. I'm only 378 albums in but Chicago, Robert Wyatt, and John Coltrane to name but a few have all scored significantly lower than this album.

Truly interesting. But I could not dance to it

I didn’t hate this. There are some interesting ideas here. Parts of this (namely “AB/7A”) are genuinely good. However, a decent amount of this one is kinda aimless, random, and boring. A lot of songs that go on for too long and good ideas that aren’t executed well. I probably won’t revisit this, but I’m glad I listened to it. Doesn’t deserve to be the lowest rated album in the generator at all.

Early industrial music was deeply, deeply strange, and this album is no exception. Alien samples, cold mechanical soundscapes, and some genuinely horrific sound design abound on this album - a particular highlight for me is the unsettling "Hamburger Lady", based on a story about a burn ward medic treating a woman whose entire body was severely burned from the waist up. Much of the experimental music I love owes a strong debt to pioneers like this. That said, I will drop a star for the photo of a little girl lifting her dress and showing her underwear that was put in the lower-right corner of the cover art. Being provocateurs was normal for people in this scene, but doing so with actual exploitative material is indefensible.

I surprisingly don't hate this. As an ambient album it works. Yes, this is weird and there are very few discernible melodies (AB/7A is one of the few, it's actually quite pleasant) or anything approaching conventional song structures (Dead on Arrival does have a pretty straightforward drumbeat, but that's about it). So, if you dig bleeps and bloops, strange sounds and mildly-to-severely oppressive droning atmospheres, there's something here. The vocal samples add to the ambience too. Feels very ahead of its time for 1978. I don't think I can go higher than *** but I respect it. Can't wait to read the reviews for this one...

Possibly due to having studied fine art time based media and focusing for a while on avante garde music (cage etc), this wasn't so strange or unappealing to me as it obviously has been for others. It was surprisingly enjoyable and stimulating to listen to, with a musical pulse throughout despite it seeming to only be noise. It's the first time I've listened to it (so thank you 1001) and I wouldn't be averse to playing it again. They are such a key and influential collective to so many genres, I think it's fitting that they feature here.

Very dark vibes. Mostly music, no real singing. Not my cup of tea but others may like it.

I listened to this album when I was out doing chores, it totally spun me out.

Rough listen but glad I know about it.

the cover is a no go. The music itself is interesting. Not something I would regularly listen to, but there was lots in it that was engaging.

This was super interesting. I was engaged through most of it. Hometime evoked more feelings from me than any other song on this list. The songs were more cohesive than I thought they would be based on the other reviews and the wikipedia entries. Will not listen again.

Muy buen concepto de industrial, no volvería tanto a este disco a menos que tuviera unas ganas profundas de tener este sonido en mis oídos

Никак не мог послушать. Ничего не понял.

The lowest rated album of the entire book!!!!!!!! My face the whole time was that Tom Delonge WTF gif. Like walking through a Rob Zombie movie and just a raw, raw soundtrack of that. I'm 5 songs in and I actually love the randomness of it. It's a 3.5 for me. I'll check back in at the end........ Still like it! 3/5

Felt kind of shallow lyrically, mostly going for shock value, but was weirdly hypnotic by the second half

This is a must be wearing headphones for me. I rather enjoyed it, but it’s a once in a blue moon listen rather than heavy rotation for me.

Not what I expected at all, pleasantly surprised

5/10… industrial / electronics / *1978 👂

idk

The beeps and harsh noise on I.B.M. immediately set the tone and provided the structure for the album. It’s an album that’s sonically dense, leaving you unpacking the sound. It can be overwhelming in the sense of leaving you drained at times, but this is part of what makes this album so fascinating. There’s just so much to it. I spent most of my time listening trying to fully break down the music, which was an enriching experience. There’s more interest compared to enjoyment right now, but I have strong appreciation for this project. Faves: AB/7A, Dead on Arrival

Some innovative sounds. Good electronica.

I’d go to this gallery show

I understand the hate for this one, and while there's certainly some low effort work here, there's lots that's way way worse in the 1001 list.

This one's really interesting and - honestly - fairly enjoyable. There's a lot of things going on which are surprising for an album from the 1970s, like the crazy distorted industrial pulsing on "Walls of Sound" which sounds a lot like a proto-Nine Inch Nails. And yeah, I think everyone should listen to something like this sometime in their life, even if it's just to be sure that they don't like it. Favorite track: AB/7A. A lot of this album would be best when I am in the right mood, but this is a track I could legitimately listen to any day.

Ugly, creepy, and disorienting. Barely music. Categorically not the worst album on this list. Haaamburger lady.

Tangentially related rant. Today, my coworkers (one of which showed up late) vocalized how they feel music hasn’t changed or evolved in the past while. That grunge & Dave Matthews were the last things that made them ‘feel’ the music. Some of you people giving this a 1/5 are my coworkers. If you’re 500+ albums into this list and you’re giving it a 1/5 stars, why??? This is at the very least unique and challenging — something that can’t be said for most of the 8 Neil Young associated projects, or the umpteenth new wave or britpop inclusion on this list. DOA is fine! God forbid we venture away from typical song structure. “Dead On Arrival” had some great synth work for its time. Love the use of reverb. “Hometime” was my favorite, reminding me of one of the b-side songs from Brian Eno’s Another Green World. And “AB/7A” was actually a pretty bright, shimmering little song that added a little color to the album. A totally welcome inclusion that probably did a lot of leg work for industrial acts, dark electronic music, etc. A good exercise for the ears, 3/5

Weird...but....no...just weird

Horrible, awful, unlistenable, nightmarish, get it away from me please

THROBBING ITS THROBBING. Cool sounds that go beep and boop. Strong 3

Surprisingly less annoying and Fatboy Slim

Pretty unique and interesting. Didn't care much for Walls of Sound though.

First listen, first couple of tracks, are a tough listen. But once you settle into the creepy, anxious vibe, it’s quite a trip. I ended up listening to this album 4-5 times over the weekend and really loved it. It reminded me of the downward spiral with some amnesiac thrown in. I believe this is the lowest rated album in the challenge. I’m not sure this is fair, just because it’s challenging doesn’t mean it’s shit.

Tough to rate! I have mixed feeling about this album - on the one hand the cover is appalling, the song titles/lyrics are pretty creepy and dark - the whole album puts you on edge. It's not what I would call an 'enjoyable' experience. On the other hand - this music hasn't been created for an enjoyable experience (nor should it be, there's plenty of music to help you feel happy or sad or sound lovely - this is something different entirely!), so ultimately I found the musicality and instrumentation really interesting and it drew me in. I can imagine this type of experimental industrial sound paved the way for bands like NIN and Marilyn Manson, Tool, punk and some electronica too. So I'm left feeling conflicted - I can certainly see why so many have rated it poorly, but I also don't think the band is just for pretentious avantgarde music nob edgelords (unless maybe I am one, and just have no insight?). Its a tough listen but also fascinating and complex. Dark and bad and weird - maybe that's why I was kinda into it. Could be worse!? It could be more harmonica shit.

Very interesting record. One of those experimental music pieces with unique and odd sounds, sequenced in whatever method the artist desired, mostly without rhythm. It’s a very cool take on what’s possible with music, so I still appreciate this one. I’d revisit it for funsies.

I guess I’m a sick fuck but I found this kind of relaxing, soothing even.

This is the lowest rated album on the whole list — 1.88/5. And it brings me extra interest, ‘cause masses can’t be wrong, right???? How to start, lol. It’s not another mediocre britpop album from the 70s or 80s. It’s something new, experimental, something I have never listened to before. It’s industrial, it’s creepy af, it’s so anxious, noisy and dark. It's experimental chaos and I like it, I respect it. I really like Dead on Arrival, so fucking alienly weird and dangerous, it sounds like a space blaster war on the moon in the second part: green aliens protecting their underground moon bunkers while SpaceX colonizers attack them. The album sounds like a perfect soundtrack for the "Outer Wilds" game too. 3/5 —————————————— Liked: — Dead on Arrival

Fair play to them - something different. 1s and 5s isn’t a bad thing!