GRAVITY KILLS

Industrial Metal • United States
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Gravity Kills is an American industrial rock/metal band from St. Louis, Missouri formed in 1994. They are most well-known for their self-titled debut album from 1996, and have toured with the likes of Sevendust and Sex Pistols. The band broke up in 2003, but reunited shortly after in 2005.

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GRAVITY KILLS Discography

GRAVITY KILLS albums / top albums

GRAVITY KILLS Gravity Kills album cover 2.64 | 2 ratings
Gravity Kills
Industrial Metal 1996
GRAVITY KILLS Perversion album cover 3.50 | 1 ratings
Perversion
Industrial Metal 1998
GRAVITY KILLS Superstarved* album cover 3.00 | 2 ratings
Superstarved*
Industrial Metal 2002

GRAVITY KILLS EPs & splits

GRAVITY KILLS Guilty album cover 0.00 | 0 ratings
Guilty
Industrial Metal 1996

GRAVITY KILLS live albums

GRAVITY KILLS demos, promos, fans club and other releases (no bootlegs)

GRAVITY KILLS Guilty album cover 0.00 | 0 ratings
Guilty
Industrial Metal 1995
GRAVITY KILLS Manipulated album cover 0.00 | 0 ratings
Manipulated
Non-Metal 1997

GRAVITY KILLS re-issues & compilations

GRAVITY KILLS singles (7)

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Guilty
Industrial Metal 1996
.. Album Cover
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Enough
Industrial Metal 1996
.. Album Cover
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Blame
Industrial Metal 1996
.. Album Cover
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Down
Industrial Metal 1997
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Falling
Industrial Metal 1998
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Alive
Industrial Metal 1998
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One Thing
Industrial Metal 2002

GRAVITY KILLS movies (DVD, Blu-Ray or VHS)

GRAVITY KILLS Reviews

GRAVITY KILLS Gravity Kills

Album · 1996 · Industrial Metal
Cover art Buy this album from MMA partners
Warthur
The 1990s wasn't exactly short of acts trying to hop on the industrial rock bandwagon kicked off by the likes of Skinny Puppy, Ministry, and Nine Inch Nails, but the debut album by Gravity Kills is a particularly blatant example. Take a mid-tier Nine Inch Nails album, strip away anything atmospheric or adventurous so you are left only with the most commercially-oriented and cliched songs, stuff in more industrial rock cliches to fill out the gaps, and swap out Trent Reznor's vocals for vocals by someone who's audibly struggling to sound like Trent.

Guilty is catchy - as it should be, it's the song which landed them their record deal in the first place - but the rest is just a rote attempt to rehash that, which was itself a rote attempt to rehash one of NIN's simpler efforts. Worth it only if you have very intense nostalgia for this musical era, but even then you'll probably find listening to this makes you think "meh, Trent did it better" and throw on the Broken EP instead.

GRAVITY KILLS Superstarved*

Album · 2002 · Industrial Metal
Cover art Buy this album from MMA partners
Vim Fuego
No fucking about. This band sounds like a less chaotic Ministry, a more male Marilyn Manson, or Rob Zombie after he's had a shower.

It's a much trodden path now. Fairly standard energetic hard rock with samples, beats, distorted voices, like Filter, or straightforward Nine Inch Nails. It all has an air of utter predictability about it: quiet start with an electronic beat, breathy vocals, and then the main riff starts, with such utter regularity you can set your watch by it. Then the songs progress through variations on these dynamics - noisy bit, quiet bit with bleepy noises, shouty chorus, noisy bit, fade out with more electro-noises.

This description makes this album sound like a nasty cliched pile of shit. It isn't. The bass lines are reminiscent of "Rude Awakening"-era Prong, and the vocals take cues from Al Jourgenson, Rob Zombie and even Alice Cooper. Gravity Kills have a very good ear for melody, hooks, riffs, and some downright good songwriting. Sure, little new ground is broken, but so what? These guys aren't innovators, but they're certainly not imitators either. A band doesn't need to be innovative if they do what they do well - it never hurt AC/DC.

Many of the tracks here sound like they're aimed at rock radio stations. Opener "Love, Sex and Money" would make a great single. But then so would the second, third, fourth and twelfth tracks. The Depeche Mode cover "Personal Jesus" stands out above the rest, taking an acoustic guitar intro, giving it an electro-stutter, and then jumping in with a Manson-esque footstomping beat, producing a simple, catchy and highly effective song.

It would be great to see the likes of this band, who can actually write songs and play, taking the place of boy bands with guitars on rock radio and in the charts. If given the right push, this band could have been huge.

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