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Track List
01) Push
02) Crumble
03) Stuck
04) Feed
05) Smile
06) Click
07) Jackass
08) Crack
09) Invite Yourself In
10) Thanks
11) Left
12) Where
01) Push
02) Crumble
03) Stuck
04) Feed
05) Smile
06) Click
07) Jackass
08) Crack
09) Invite Yourself In
10) Thanks
11) Left
12) Where
3:52
3:46
3:34
4:12
3:59
4:24
3:40
3:31
0:16
3:03
4:15
10:40
Data Complete
60%
Total Rating
60%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2000
Heavy Metal
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Metal
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Album
0 copies
Album Description
Available in:
Progress is the second and last album by American industrial metal band Ultraspank.
Despite anemic sales, Progress nevertheless received near-universal critical acclaim from critics both at the time of its release and nowadays. Major websites like Sputnikmusic even consider it one of the - if not the - best album in the entire nu-metal genre.
User Album Review
Ultraspank's self-titled debut album was a commercial failure despite the band's extensive touring to promote it, which has affected the lyrics, if not the music of their sophomore effort. The instrumental tracks composed jointly by the five band members (among them new drummer James "Fed" Carroll) are still standard-issue metal -- big, simple riffs played with martial aggressiveness -- with the added variable of occasional synthesizer patterns audible in song introductions and in between the slabs of guitar-bass-drums crunch. Singer Pete Murray alternates between singing the verses and delivering the choruses in a distorted howl. But his lyrics often seem to concern the band's disappointment and its uncertain future if it doesn't start selling records. "I need to make sense to restore confidence," he sings in "Crumble," later adding, "So what, so what you had it all/So why, so why the big fall." The answer may be that Ultraspank falls between two stools: Even its modest electronics dilute its heavy metal appeal, while it remains far too lumbering for techno fans. "Feed," with its cello part, and especially "Click," which sounds like it could earn dance club play with a good remix, suggest that there are possibilities for the band beyond metal, but they would have to explore those possibilities more extensively than they do here really to interest new audiences. So far, a lack of commercial success seems to be the price Ultraspank is paying for being more musically adventurous than allowed in the rigid genre into which their music generally falls. Whether they will change to accommodate that problem, overcome it, or lose their major-label status remains to be seen. With Progress, they are sticking to their guns, but they sound worried. (Note: Though the final track, "Where," is listed as running nearly 11 minutes, it actually runs about three and a half minutes, followed by four minutes of silence and then a hidden instrumental track with a wordless vocal.)
External Album Reviews
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User Comments
Available in:
Progress is the second and last album by American industrial metal band Ultraspank.
Despite anemic sales, Progress nevertheless received near-universal critical acclaim from critics both at the time of its release and nowadays. Major websites like Sputnikmusic even consider it one of the - if not the - best album in the entire nu-metal genre.
User Album Review
Ultraspank's self-titled debut album was a commercial failure despite the band's extensive touring to promote it, which has affected the lyrics, if not the music of their sophomore effort. The instrumental tracks composed jointly by the five band members (among them new drummer James "Fed" Carroll) are still standard-issue metal -- big, simple riffs played with martial aggressiveness -- with the added variable of occasional synthesizer patterns audible in song introductions and in between the slabs of guitar-bass-drums crunch. Singer Pete Murray alternates between singing the verses and delivering the choruses in a distorted howl. But his lyrics often seem to concern the band's disappointment and its uncertain future if it doesn't start selling records. "I need to make sense to restore confidence," he sings in "Crumble," later adding, "So what, so what you had it all/So why, so why the big fall." The answer may be that Ultraspank falls between two stools: Even its modest electronics dilute its heavy metal appeal, while it remains far too lumbering for techno fans. "Feed," with its cello part, and especially "Click," which sounds like it could earn dance club play with a good remix, suggest that there are possibilities for the band beyond metal, but they would have to explore those possibilities more extensively than they do here really to interest new audiences. So far, a lack of commercial success seems to be the price Ultraspank is paying for being more musically adventurous than allowed in the rigid genre into which their music generally falls. Whether they will change to accommodate that problem, overcome it, or lose their major-label status remains to be seen. With Progress, they are sticking to their guns, but they sound worried. (Note: Though the final track, "Where," is listed as running nearly 11 minutes, it actually runs about three and a half minutes, followed by four minutes of silence and then a hidden instrumental track with a wordless vocal.)
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