I started listening to music somewhere around late 1988 to early 1989, when I was 8 or 9. I used to listen to the late night music mixes while I was supposed to be sleeping, because let's face it, I didn't want to go to bed at 10. I consider myself an 80's child for this reason, because that's what my initial foray was. I eventually grew to like rap, and stayed a fan as it transformed from its 80's dance phase to its gangster phase.

Now, for whatever reason, I've always had an interest in the insane. One day while watching rap videos, and changing channels during rock videos, I accidentally stumbled upon Green Day's "Basket Case" video. I couldn't help but love it, and Green Day became my favorite band for awhile, while I slowly stopped listening to rap. Over time I grew to like a lot of the rock music on the radio (the radio was good back in the mid 90's).

I tended to like many of the darker music on the radio and tended to find solace in it for some reason. I started dressing in all black. I even started liking the light female vocal music, finding I liked my music really heavy or really light, never in between. Of course, Nine Inch Nails, was usually the band of choice at the time. One of my friends told me I check out Skinny Puppy.

It was around this time I found I my best friend was suffering from depression, which then made me realize I was depressed as well. As I plunged further into the dark music, I started realizing it was the only thing I really cared about. It's what kept me going.

In 1999, I met an elder goth who was working at a video game store. We initially talked about Skinny Puppy, which led further to discussions about the history of industrial music and gothic culture, which I had slowly been delving into. For a few years it was all goth culture, until my new friend started drinking uncontrollably.

I then decided to check out some of the music he said wasn't industrial enough, such as newer cEvin Key. I did a lot of background research on the music, and found that Key's philosophy had changed from when he was in Skinny Puppy. I liked his music and decided to join into the group of Skinny Puppy fans that supported Key and hated Ogre. A short time later I had finally overcome my depression.

From this point on I merely listened to gothic/industrial stuff I suppose because that is what I had grown accustomed to, and I did like it. I started noticing the continuing trend of industrial and goth music in recent years had become more trancey and poppy. Luckily, Key had stuck to his principles over the years and had begun to speak out over the demise of the scene. Thus he began to complain about the record labels, and their role in the destruction of gothic and industrial music. Key decided to start releasing music on his own label to maintain artistic control, and when Skinny Puppy reformed in 2004 he signed to a German label, in order to avoid Dave Heckman's grasp. This is where I like to talk about the history of industrial music:

Industrial music and culture originally began in London in 1975 by Throbbing Gristle. At the same time a experimental electronic group Kraftwerk was also making news. At some point in the early 80's in Vancouver, Key decided to eliminate his record collection, and replace it only with Throbbing Gristle and Kraftwerk. He founded Skinny Puppy, a band that combined the noise and performance talents of Throbbing Gristle with the experimental electronic style of Kraftwerk. Skinny Puppy would gain plenty of notoriety, however it wasn't until Ogre begin speaking out on political issues, and of course animal rights, that the band's fan base grew.

It is at this time (the late 1980's) that the goth/punk culture embraced Skinny Puppy, and would be subsequently be defined. In 1989, Al Jourgenson of Ministry, would produce Skinny Puppy's "Rabies". Al had hatched a plan to destabilize the band in order to get Ogre voice for his side project, the Revolting Cocks. Al failed to break up the band, but a riff had begun. Over the next few years, Skinny Puppy would become more and obscure due to rising tensions in the direction of the band. In 1992 they released "Last Rights", which seemed to indicate to fans it was the final album. Skinny Puppy would go on to a new record label and years of trauma.

One stop during a 1992 European "Last Rights" tour, Key was able to give some pointers to the up and coming band, Haujobb. With Skinny Puppy out of commission in 1995, Haujobb's "Freeze Frame Reality" would take the industrial scene by storm, by introducing new computerized bleeps into the music. Not only was it more melodic, but Haujobb had created an overwhelmingly dark album at the same time. Haujobb's next CD, "Solutions for a Small Planet", placed even more emphasis on the computerized music.

During this time an industrial fan named Dave Heckman, who happened to own a record store, had become upset at the high costs of imported European industrial music. He decided to set up deals with European labels to lower the cost of European imports. However, Heckman, didn't stop there. He then decided to sign the bands to a new record label he started, Metropolis Records. After some time, he bought out the US record label Haujobb was on for distribution purposes. With Haujobb now his, Heckman was able to grow his label empire. Like many other established bands, Heckman did not impose any creative restrictions on Haujobb.

In 1999, Haujobb released "Ninety-Nine", a more experimental and lighter album. Fans began to lash out against Haujobb, and hundreds of anti-Haujobb websites sprang up (some of which are still visible today). The majority of the industrial and goth culture would then follow VNV Nation, who the following year would introduce futurepop, a trance infused version of industrial music. Those who remained loyal to Haujobb shed their black and went into hiding. Heckman was so pleased with the success of VNV Nation's futurepop that he began to demand that all the bands on Metropolis Records adopt the sound. Thus, from 1999, industrial and gothic bands on the label begain to develop similar sounds. This is why