Stabbing Westward falls somewhere between Electronic (Industrial) and Mainstream. This also depends on which CD of theirs you're talking about. Ungod is... say... roughly 80% electronic. If you wish to post up the review here is my source code for it:

U n g o d

by Stabbing Westward

     When someone mentions the name Stabbing Westward one normally thinks of the hits "What Do I Have to Do" and "Save Yourself." These songs of desperation, desire, and passion represent a true metamorphosis from the groups debut album. Their original sound is quite different from, mostly due to the fact that two memebers of the group were switched after the first album. The newer albums reflect an importance on intense emotions and Christopher Hall's leadership and voice. The first album, however, concentrated more on its "industrial" origins. The focus was on electronics, musical complexity, and transitions and "tricks" inside and between songs. Also, the music wasn't entirely written by Christopher Hall, reflecting the variety of style within the work. It is unfortunate that two of the members didn't stay with the band; it's apparent that some things are missing in the later CD's. Specifically, the one thing that marks the first album is a mastery of the use of Stereo and Surround Sound. The electronic effects give a spinning sensation and that of moving forward and backward, and in and out. The vocals range from wild to quiet, with an introspective feeling of looking inside the life of the singer. There is much echo and electronic effect on the vocals giving a sometimes cosmic and set back tone to them. Guitarwork is secondary to electronics (as opposed to the later CD's), and the bass always driving the songs forward. Percussion is varied among the songs and is integrated with the electronics.
     An example of the cosmic, introspective, and quiet style in this CD is "Red on White." At first the lyrics are almost inaudible, then they release a vibrant chord in the "all come down" followed by a sad, simple, nostalgic piano solo. The song dies to nothing, then restarts. The piano part crossfades into a similar sounding drum pattern which then crossfades into their last song.
     A song of similar stress on structure is "Ungod." At first it opens with an high-pitched ringing and a bizzare guitar interlude. The lyrics come in lazy and seemingly disgruntled from a relationship, then the mood changes into a somewhat edgy remembrance of the more intense aspects of it, and it returns into the bizzare electronics and guitars. The theme restarts more impatient than before then explode as Hall releases all the underlying passion and anger. The energy released in this part suddenly fades to nearly nothing exept for a bit of wavering electronics moving closer to the listener. Again the cycle kicks in and the passionate anger reaches a higher climax. Istantly it dies down to the introductionary guitar theme. There is complex and thoughtful organization going into these pieces.
     The emotional aspect of this CD is more geared towards a tendency to "blame" the member of the damaged relationship. The expressions in the songs are more of anger and revenge than self-pity and depression (except for perhaps Red on White). There is also an importance stressed on calm to balance the angst. The result is never-ending drive fading in and out with electronics.

[Lyrics to Ungod!]

Cafe Chaques Charles Nadolski(patient00z@hotmail.com)