www.pitchshifter.com by Pitchshifter: The Album That Redefined Industrial Metal
Some albums do more than capture a moment in time—they change the course of music. Released in 1998, www.pitchshifter.com by Pitchshifter did just that. It brought industrial metal into a new era, blending breakbeats, punk attitude, and a digital edge. This record became a touchstone for a generation of musicians, fans, and critics. Even now, it stands out for its fearless creativity and biting social commentary.
In this deep dive, I’ll cover the origins of the album, its creation, and the team behind it. I’ll look at the recording process, commercial reception, and its critical legacy. We’ll explore every track, the lyrics, and what they mean. There’s also a look at touring, promotion, influences, and how www.pitchshifter.com still shapes heavy music today. If you want the most detailed, factual resource on this record, you’re in the right place.
| Attribute | Details |
|---|---|
| Album title | www.pitchshifter.com |
| Release date | 2 March 1998 (UK), 7 April 1998 (US) |
| Genre | Industrial metal, nu metal, drum and bass |
| Total runtime | 51:50 |
| Number of tracks | 14 |
| Record label | Geffen Records (UK), DGC Records (US) |
| Recording studio | PSI Studios and Protocol Studios (London), The Machine Shop (Hoboken, NJ) |
| Producer(s) | Machine (Gene Freeman), Pitchshifter |
When Pitchshifter released this album, it sent shockwaves through the heavy music world. As JS Clayden once said, “We wanted to make a record that sounded like the future, not the past.” The band’s bold approach, from the digital-inspired album title to the mix of genres, drew praise and controversy alike. Metal Hammer called it “one of the ten best industrial metal albums of all time” (Louder, 2016). Rock Hard placed it at #263 in their “500 Greatest Rock & Metal Albums of All Time” (2005), and Kerrang! ranked it #45 in their “100 Greatest British Rock Albums of All Time.”
Besides the accolades, the album’s influence is clear in the music of bands like Fear Factory, Pendulum, and even The Prodigy. As former Fear Factory singer Burton C. Bell put it, “Pitchshifter’s early work blew me away. It was heavy, intense, and completely new.” (Blabbermouth, 2024)
This is the definitive story of www.pitchshifter.com—an album that didn’t just ride the digital wave, but helped create it.
The Genesis of www.pitchshifter.com
To understand www.pitchshifter.com, you need to look at the late 1990s. The UK was at the heart of an electronic music explosion. Drum and bass, jungle, and big beat were all in the charts. Meanwhile, industrial metal was finding new life in bands like Nine Inch Nails and Ministry. Pitchshifter, from Nottingham, had already made a name with their gritty sound and political lyrics. Their previous albums, including Infotainment? (1996), had pushed the limits of what industrial metal could be.
Before this album, Pitchshifter had already toured with the likes of Korn, Tool, and Ministry. Their live shows were known for energy and confrontational visuals. Yet, they felt limited by the “death industrial” label. The band wanted to break new ground, mixing heavy guitars with the breakbeats and samples of electronic music. This idea shaped the vision for www.pitchshifter.com. They were also one of the first bands to use the internet for promotion, naming the album after their website—a bold move in 1998.
The core creative team included JS Clayden (vocals, programming), Mark Clayden (bass, sampler), Jim Davies (guitars), Johnny A. Carter (guitars, programming), and D.J. Walters (live drums). They were joined by guests like Keith York (drums, percussion samples) and Pablo Yeadon (acoustic guitar on “Disposable”). Clinton Bradley handled analog synth manipulation. The songwriting was led by Johnny Carter and JS Clayden, with all band members contributing to arrangements and sound design.
Here’s a look at who did what:
| Band Member | Role(s) |
|---|---|
| J.S. Clayden | Vocals, beats, programming |
| Mark Clayden | Bass, sampler |
| Jim Davies | Guitars |
| Johnny A. Carter | Guitars, programming, engineering |
| D.J. Walters | Live drums |
| Keith York | Drums, percussion samples (additional) |
| Pablo Yeadon | Acoustic guitar (“Disposable”) |
| Clinton Bradley | Analog synth manipulation |
Financing for the album came from their new major label deal with Geffen. This brought a larger budget, but also higher expectations and some pressure. Exact figures aren’t public, but the band spoke about the burden of major label deadlines and the need to deliver a commercial success. The album’s title came from their own website. At the time, this was almost unheard of. JS Clayden later said, “It was a novelty at first, but became a burden to maintain. Eventually, we let the domain lapse.” (Wikipedia, 2024). If you’re curious the domain is still available, HugeDomains suggest an asking price of $6,395.
The artwork was handled by H. Forbes, Paul Williams, Nick Philip, and Unknown Graphic Services, with photography by Ralph Barklam and Tony Woolliscroft. The cover and design matched the album’s digital themes, using computer graphics and modern fonts. This all helped make www.pitchshifter.com feel like a product of its time—and of the future.
Recording Process
The making of www.pitchshifter.com was a complex, globe-spanning effort. Recording took place in 1997 at three studios: PSI Studios and Protocol Studios in London, and The Machine Shop in Hoboken, New Jersey. These studios offered the band a mix of analogue warmth and digital technology. PSI Studios was known for its live room and modern equipment, while The Machine Shop was run by producer Machine (Gene Freeman), who had a reputation for pushing bands into new sonic territory.
Producer Machine worked closely with the band, bringing experience from both metal and electronic genres. He and Pitchshifter shared production duties, while Johnny Carter and Neil Simmons handled engineering. Jodie Zalewski was the assistant engineer. Bob Ludwig, one of the most respected mastering engineers in the business, mastered the final tracks. The process involved layering live drums, programmed beats, samples, and guitar tracks, often using cutting-edge software and hardware for the time.
As for the gear, there’s no official list of every item used, but we can make some educated assumptions based on the studios and era. Here’s a table of likely hardware and techniques:
| Hardware/Equipment | Details |
|---|---|
| Mixing Desk | SSL or Neve analogue consoles (common at PSI/Protocol Studios) |
| Microphones | Shure SM57, AKG C414, Sennheiser MD421 for drums/guitars/vocals |
| Compressors | UREI 1176, dbx 160, LA-2A (typical for drums and vocals) |
| Guitars/Amps | ESP and Ibanez guitars, Marshall and Mesa/Boogie amps |
| Drum Machines | Akai MPC, Roland TR-909/TR-808 (for programmed beats) |
| Samplers | Akai S-series, EMU E6400 (widely used for samples and loops) |
| Synths | Roland JP-8000, Korg MS-20, Access Virus (for electronic textures) |
| Digital Audio Workstation | Pro Tools (early versions), Cubase VST |
| Mastering | Bob Ludwig’s custom analogue/digital chain |
The sessions were not without challenges. Integrating live drums with programmed beats was tricky, especially as drum and bass was not common in metal at the time. The band also experimented with “microwaved” vocal effects, digital distortion, and tempo changes. According to interviews, the creative process could be tense, but the results speak for themselves. The band later said that working with Machine pushed them to take risks they wouldn’t have tried alone.
Machine’s production credits are extensive:
| Producer | Artist | Album | Year |
|---|---|---|---|
| Machine | Clutch | Psychic Warfare | 2015 |
| Machine | Clutch | Earth Rocker | 2013 |
| Machine | Clutch | Blast Tyrant | 2004 |
| Machine | Lamb of God | Sacrament | 2006 |
| Machine | The Amity Affliction | Youngbloods | 2010 |
| Machine | Fall Out Boy | Take This to Your Grave | 2003 |
| Machine | Four Year Strong | Enemy of the World | 2010 |
Commercial Performance and Reception
When www.pitchshifter.com hit the shelves, it made an immediate impact. It was the band’s first major label release and sold over 60,000 copies in the United States alone—almost double the sales of their next album, Deviant (33,000). In the UK, it cracked the top 75 with singles “Genius” and “Microwaved.” While it didn’t chart in the US, it built a loyal fanbase and found success in Europe and Japan. This was a big leap for a band that started in the underground scene.
Here’s how the album fits in their discography. The table below lists all Pitchshifter studio albums in order of release, with the producer for each:
| Album | Year | Producer |
|---|---|---|
| Industrial | 1991 | Pitchshifter |
| Desensitized | 1993 | Pitchshifter |
| Infotainment? | 1996 | Pitchshifter |
| www.pitchshifter.com | 1998 | Machine, Pitchshifter |
| Deviant | 2000 | Pitchshifter |
| PSI | 2002 | Pitchshifter |
Though it never went gold or platinum, the album was Pitchshifter’s best-seller. It didn’t win major industry awards, but it received high praise from the metal press. Metal Hammer gave it a perfect 10/10. Kerrang! awarded the “Genius” video Best Video in 1998. Rock Hard, Uncut, and The Baltimore Sun all reviewed it, with scores ranging from 3/10 (Collector’s Guide to Heavy Metal) to 10/10 (Metal Hammer, Rock Hard). In 2016, Louder named it one of the top 10 industrial metal albums ever.
Other notable albums released in 1998 by similar artists include:
- Mechanical Animals by Marilyn Manson
- Obsolete by Fear Factory
- Follow the Leader by Korn
- System of a Down by System of a Down
- Powertrip by Monster Magnet
- Against by Sepultura
- Volume 8: The Threat Is Real by Anthrax
- Godsmack by Godsmack
- Candyass by Orgy
- Refused by Refused
In heavy music, 1998 was a year of big releases and new bands. System of a Down, Soulfly, and Black Label Society all debuted. Metallica put out Garage Inc., and Slayer released Diabolus in Musica. The year also saw the rise of nu metal and a surge in industrial sounds across rock and metal.
Track Analysis
The singles from www.pitchshifter.com were “Genius” and “Microwaved,” both released in 1998. These tracks were written by Johnny Carter and JS Clayden, with input from the rest of the band. Both singles reached the UK Top 75, giving Pitchshifter their first chart success. Other tracks received airplay and were featured in video games like Twisted Metal III and Test Drive 5.
Here’s a table of every song on the album, with writing credits and track length:
| Track Name | Length | Writing Credit |
|---|---|---|
| Microwaved* | 3:28 | Johnny Carter, JS Clayden |
| 2nd Hand | 3:31 | Johnny Carter, JS Clayden |
| Genius* | 4:06 | Johnny Carter, JS Clayden |
| Civilised | 4:38 | Johnny Carter, JS Clayden |
| Subject To Status | 3:34 | Johnny Carter, JS Clayden |
| W.Y.S.I.W.Y.G.* | 3:45 | Johnny Carter, JS Clayden |
| Please Sir* | 3:47 | Johnny Carter, JS Clayden |
| Disposable | 3:38 | Johnny Carter, JS Clayden |
| A Better Lie | 3:13 | Johnny Carter, JS Clayden |
| Innit | 2:52 | Johnny Carter, JS Clayden |
| What’s In It For Me? | 2:56 | Johnny Carter, JS Clayden |
| I Don’t Like It | 3:53 | Johnny Carter, JS Clayden |
| ZX81 | 7:34 | Johnny Carter, JS Clayden |
| Free Samples | 1:48 | Johnny Carter, JS Clayden |
Note: Tracks marked with * were singles: “Microwaved,” “Genius,” “Please Sir,” and “W.Y.S.I.W.Y.G.”. “Microwaved” and “Genius” reached the UK Top 75. Chart positions for “Please Sir” and “W.Y.S.I.W.Y.G.” are not confirmed.
Song Meaning and Lyrics
The lyrics on www.pitchshifter.com are direct, political, and often satirical. The singles, in particular, tackle issues of conformity, technology, and social control. “Microwaved” addresses systematic abuse, racism, and the false promises of economic progress: “Because we’re cut, dried, microwaved / Safe in the knowledge that we’ll all be saved.” (Genius Lyrics)
“Genius” is a tongue-in-cheek take on celebrity culture and the illusion of control. The repeated line “If dysfunction is our function, we all must be some kind of genius” pokes fun at a society obsessed with status but lacking real direction. “Please Sir” is a nod to social class and the British education system, with lines that echo the famous “Please, sir, can I have some more?” from Oliver Twist. “W.Y.S.I.W.Y.G.” stands for “What You See Is What You Get” and explores themes of authenticity and transparency in a world of spin and media manipulation.
The writing credits for each song are shared between Johnny Carter and JS Clayden, though all band members had input. The process was collaborative, with lyrics and music often developed together. The result is a set of songs that are both musically complex and lyrically sharp. For a full set of lyrics, see the album’s Genius.com page.
Touring and Promotion of www.pitchshifter.com
The promotion for www.pitchshifter.com was ambitious. The band shot music videos for “Genius” and “Microwaved,” both of which received airplay on MTV Europe and UK rock channels. They played major festivals, including Ozzfest 1998, and supported the album with a world tour. The band’s online presence was also ahead of its time. They used their website for updates, fan interaction, and even free downloads—years before this became common.
In 1998, Pitchshifter played over 50 shows across the UK, Europe, the United States, Japan, and Australia. They performed at Reading Festival and Dynamo Open Air, and shared stages with acts like Gravity Kills and Junkie XL on a summer US tour. According to a Facebook post by Gravity Kills, the 1998 tour was “by far the coolest tour of that year.” They also played the Vans European Warped Tour with The Specials, NOFX, Civ, and Deftones. Notable shows included Milwaukee Summerfest and headline gigs at London’s Rock City.
During the tour, Pitchshifter’s sets were known for their intensity and crowd interaction. The band often dealt with curfews and cultural differences, especially in the US. They even played shows where the crowd’s energy led to stage invasions and security stepping in. Despite these challenges, the tour built the band’s reputation as a must-see live act.
Influences and Legacy
Pitchshifter drew from a wide range of influences when making www.pitchshifter.com. These included early industrial acts like Godflesh and Ministry, punk bands such as Dead Kennedys and The Clash, and electronic artists like The Prodigy. They were also inspired by the political climate of late-1990s Britain, the rise of the internet, and the blending of genres in club culture.
The album, in turn, influenced a host of artists. Fear Factory’s Burton C. Bell credited Pitchshifter with shaping his approach to heavy, electronic-infused metal. Drum and bass group Pendulum, and bands like Skindred and Lostprophets, have all cited Pitchshifter as an influence. Even The Prodigy’s live guitarist Jim Davies joined Pitchshifter during this era, further blurring the lines between genres.
Here’s a table of influences and those influenced by the album:
| Influences on “www.pitchshifter.com” | Artists Influenced by “www.pitchshifter.com” |
|---|---|
| Godflesh | Fear Factory |
| Ministry | Pendulum |
| The Prodigy | Skindred |
| Dead Kennedys | Lostprophets |
| Nine Inch Nails | Enter Shikari |
In 1998, the world was changing fast. Google was founded, the Good Friday Agreement was signed, and the internet was starting to shape daily life. In music, The Miseducation of Lauryn Hill won five Grammys, and the Seinfeld finale drew 76 million viewers. In the UK, the Angel of the North was unveiled, and the World Cup captured the nation’s attention. The cultural shift towards digital life is echoed in the very title of www.pitchshifter.com.
Five Things About www.pitchshifter.com
Let’s look at five unique, verified facts about this album:
| Fact | Details |
|---|---|
| First major label release | It was Pitchshifter’s first album on Geffen, leading to wider distribution and a bigger budget. |
| Domain name album title | The album’s name came from the band’s website, making them pioneers in digital branding. |
| Charting singles | “Genius” and “Microwaved” became the band’s first UK Top 75 singles. |
| Video game soundtracks | Three tracks appeared in Twisted Metal III and Test Drive 5, boosting their US profile. |
| Sold out vinyl reissue | The 2021 vinyl reissue sold out all editions on the day pre-orders opened. |
Media and Television Usage
Pitchshifter’s music found its way into popular culture, especially through video games. Here’s where songs from www.pitchshifter.com have appeared:
| Song Title | Media | Year |
|---|---|---|
| Genius | Twisted Metal III (Video Game) | 1998 |
| Microwaved | Twisted Metal III (Video Game) | 1998 |
| Innit | Twisted Metal III (Video Game) | 1998 |
| W.Y.S.I.W.Y.G. | Twisted Metal III (Video Game) | 1998 |
Critical Reviews and Retrospectives
Critical response to www.pitchshifter.com was divided but passionate. Some outlets praised its innovation, while others were less impressed. Here’s a table of key reviews:
| Publication | Score | Notable Quote | Link |
|---|---|---|---|
| Metal Hammer | 10/10 | “A genre-defining record. Unstoppable.” | Louder Sound |
| Rock Hard | 10/10 | “Among the 500 greatest rock and metal albums ever.” | Wikipedia |
| Pitchfork | 5.2/10 | “An ambitious record, but uneven.” | Wikipedia |
| Collector’s Guide to Heavy Metal | 3/10 | “Too far from metal for purists.” | Wikipedia |
| Kerrang! | N/A | Ranked #45 in “100 Greatest British Rock Albums” | Wikipedia |
After www.pitchshifter.com
After the success of www.pitchshifter.com, Pitchshifter continued to evolve. Their next album, Deviant (2000), saw more lineup changes—Johnny Carter and D.J. Walters left, replaced by Matt Grundy and Jason Bowld. The band experimented further, even collaborating with Jello Biafra. They toured with bands like Black Sabbath and played Ozzfest again. Despite a strong following, recording slowed, and the band went on hiatus in 2003.
Since then, Pitchshifter have reunited for tours, released retrospective material, and kept a dedicated fanbase. In 2021, they reissued www.pitchshifter.com on vinyl. In 2024, they released the “[NOS] Genius” EP, featuring a restored version of their hit with new remixes. As of April 2025, Pitchshifter are still active, playing select shows and releasing special editions for fans. Their influence remains strong in both metal and electronic music circles.
Remasters and Reissues
No official remasters or reissues of www.pitchshifter.com are listed in the provided data beyond the 2021 Bandcamp vinyl reissue, which sold out in all editions.
Conclusion
www.pitchshifter.com remains one of the most forward-thinking albums of its era. Its fusion of metal, punk, and electronic music opened doors for a new generation of bands. The album’s lyrics, sound, and visual style all pointed towards a digital future. Even now, it’s a reference point for artists who want to break boundaries. With new material and tours planned, Pitchshifter’s legacy is far from over.
Further Reading
If you want to explore related topics, check out these Riffology articles and podcasts:
- The Prodigy: The Fat Of The Land (blog article)
- Exploring Life Is Peachy: Korn’s Nu Metal Evolution (blog article)
- Soundgarden’s Badmotorfinger: Grunge Meets Alternative Metal (blog article)
- Pretty Hate Machine: Nine Inch Nails’ Industrial Breakthrough (blog article)
- A Complete History of Rage Against the Machine (blog article)
For more on www.pitchshifter.com:
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