Industrial/Noise charts

Review: Legends of EBM, Canadian electro-industrialists Front Line Assembly should need no introductions, given their work stretches back to the mid-1980s. Nevertheless, they occupy a relatively obscure space - made for dance floors, but twisted, dark cornered, writhing, distorted dance floors where many fear to tread. With that in mind there will be some newcomers, and The Initial Command is a great starting point because it's the starting point of the band's back catalogue.

Originally released in 1987, this is the first album from an impressive 17-LP-strong body of work. And it's also the most definitive of their sonic style, setting a benchmark for all that would follow. Fiercely original, not least for 'it's time', from the glittering synths and harsh metallic percussion of the unarguably cinematic 'Casualties' and the abrasive white noise on 'Ausgang Zum Himmel', to the punchy breaks and dramatic strings of 'No Control', re-releasing Command is an essential act of unearthing.

Review: On this unique compilation, various artists pay homage to the iconic Irish rock band U2, reimagining their timeless classics and turning them into their own., from the dreamy ethereal sounds of Heaven 17's 'With or Without You' to the pulsating electronica industrialism of Front Line Assembly. The Mission UK's haunting rendition of 'All I Want Is You' evokes a profound sense of longing and despair, while The Electric Hellfire Club's industrial-infused 'Sunday Bloody Sunday' captures the raw energy and political urgency of the original. Rosetta Stone's ethereal 'October' provides a meditative interlude, and Die Krupps' throbbing dance interpretation of 'Numb' adds a sinister edge to U2's dance track. The album culminates with Silverbeam's soaring anthem 'Where The Streets Have No Name' featuring Ann Louise, a fitting tribute to the band's enduring impact on the global music scene. Tribute albums rarely shine as bright as this one does.

Review: Second time around for Cosmic Assault, Californian guitar god and sometime Chrome member Barry Johnson's ninth album as Helios Creed. Something of a hard-to-pigeonhole classic, the album combines his ravaged and acid-fried hard rock and psychedelic metal sound with elements of industrial music, horror soundtrack style synths, and all manner of decidedly cosmic and intergalactic sounds. As a result, the set attractively veers from intense, mind-man gling workouts rich in heavy riffs and elongated guitar solos ('Cosmic Assault', 'Rise'), exotic excursions ('The Master'), and more immersive explorations of the outer reaches of the aural universe.