{"id":8102,"date":"2026-10-04T20:12:51","date_gmt":"2026-10-04T20:12:51","guid":{"rendered":"https:\/\/silvybrand.com\/?p=8102"},"modified":"2026-10-04T20:12:51","modified_gmt":"2026-10-04T20:12:51","slug":"prick-industrial-glam-punk-album-review","status":"publish","type":"post","link":"https:\/\/silvybrand.com\/?p=8102","title":{"rendered":"Prick\u2019s theatrical industrial punk is perfect for spooky season"},"content":{"rendered":"<p><br \/>\n<\/p>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">While deep in the recording process for <em>The Downward Spiral<\/em>, Trent Reznor lent some of his production talents to old friend Kevin McMahon, from the new wave band Lucky Pierre (which Reznor was briefly a member of). While Reznor is only credited as the producer on four tracks off Prick\u2019s self-titled debut record, his fingerprints are all over it. But McMahon also can\u2019t suppress his inner theater kid, which also gives the songs the sort of glammy flamboyance found on T. Rex records. Prick embraces the inherent theatricality of goth in a way that Nine Inch Nails never did.<\/p>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">Opener \u201cCommuniqu\u00e9\u201d is a fuzzy blast of simple punk riffs with electronic sprinklings on top. McMahon\u2019s vocals occasionally detour from the half-spoken verses that sound borrowed from a musical to full-throated Al Jourgensen-esque screams. The rough-around-the-edges production and focus on live instrumentation feel like a prototype for what Reznor would eventually revisit on <em>With Teeth<\/em>.<\/p>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">But it\u2019s the second track, \u201cRiverhead\u201d where Reznor\u2019s influences fully rear their head (even though he is not actually credited as the producer). The vocal melodies swerve like <em>Outside<\/em>&#8211; and <em>Earthling<\/em>-era <a href=\"https:\/\/www.theverge.com\/2016\/1\/11\/10749920\/david-bowie-best-of-reflection\">Bowie<\/a> around guitars that buzz with all the digital charr of the <em>Broken<\/em> EP. Then, around the three-minute mark, comes the breakdown. It slowly builds with layers of electronic drums, mechanical chords, and loping synthetic-sounding guitar melodies. The entire back chunk could easily have been a <em>Downward Spiral<\/em> or even <em>The Fragile<\/em> B-side.<\/p>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">These moments of richly layered production, though, are almost always immediately undermined, as with the sloppy garage-punk intro of \u201cTough\u201d.<\/p>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">It\u2019s these moments that make Prick so charming. It\u2019s a serious record, but it never takes itself too seriously. McMahon isn\u2019t afraid to get goofy (\u201cPink panties, blue panties, yellow panties. I\u2019m gonna wrap around your nose, oh panty-ho-hose\u201d he sings on \u201cOther People\u201d) and over-the-top with his vocal performances. He\u2019s willing to let the guitar drift out of time, the bass strings rattle, and revels in industrial lo-fi.<\/p>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">\u201cAnimal\u201d is perhaps the best-known track from the album, its <a href=\"https:\/\/youtu.be\/ppCyIdkoXGk\">video<\/a> having received at least some MTV airplay. It combines backward melodic samples reminiscent of \u201c<a href=\"https:\/\/youtu.be\/PTFwQP86BRs\">Closer<\/a>\u201d and follows a similar lyrical theme:<\/p>\n<\/div>\n<div>\n<blockquote class=\"duet--article--blockquote _1lkuyz82 _1lkuyz80 _19wv7tc9\">\n<p class=\"duet--article--dangerously-set-cms-markup _1lkuyz89 _1lkuyz88 _19wv7tc1\">Consent is all I need<br \/>To bring out the savage in me<br \/>Your scent is all I need<br \/>To bring out the animal in me<\/p>\n<\/blockquote>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">But where \u201cCloser\u201d opts for slinky disco sleaze, \u201cAnimal\u201d is all raw shouted desire.<\/p>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">\u201cI Apologize\u201d is the most scatter-brained track on the album, and for that reason, one of my favorites. It opens with awkward whip-crack-like percussion and McMahon singing slightly flat and unaffected, before briefly taking off into a jangly new wave verse that quickly morphs into a hard-rock stop in the chorus. But that\u2019s short-lived as well. The second verse is all \u201cSpace Oddity\u201d-era Bowie acoustic strums, then there\u2019s a solo that sounds like an arcade machine on the verge of meltdown. That then drops into a Ministry-esque dirge of layered guitars and screams. The song then returns to the chorus, but keeps adding elements until it\u2019s stuffed to capacity and collapses on itself.<\/p>\n<\/div>\n<div>\n<p class=\"duet--article--dangerously-set-cms-markup duet--article--standard-paragraph _1044qizi _18mzr4b1 _18mzr4b0 _19wv7tc1\">Prick\u2019s self-titled record has plenty in common with other \u201890s industrial acts. But McMahon is clearly having a lot more fun than many of his contemporaries, and that helps elevate it above the myriad Nine Inch Nails wannabes out there.<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.theverge.com\/entertainment\/1004595\/prick-industrial-glam-punk-album-review\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>While deep in the recording process for The Downward Spiral, Trent Reznor lent some of his production talents to old friend Kevin McMahon, from the new wave band Lucky Pierre (which Reznor was briefly a member of). While Reznor is only credited as the producer on four tracks off Prick\u2019s self-titled debut record, his fingerprints [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":8103,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[161,64,322,515],"class_list":["post-8102","post","type-post","status-publish","format-standard","has-post-thumbnail","category-gadgets","tag-column","tag-entertainment","tag-music","tag-music-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Prick\u2019s theatrical industrial punk is perfect for spooky season - Silvybrand Lifestyle Blog<\/title>\n<meta name=\"description\" content=\"If Trent Reznor studied musical theater instead of computer engineering NIN might have sounded like Kevin McMahon\u2019s Prick.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/silvybrand.com\/?p=8102\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Prick\u2019s theatrical industrial punk is perfect for spooky season - 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