Performing/recording on their own and with toaster Gary Clail, Tackhead put on extravaganzas in the mid-'80s with live and recorded music, "all twisted and dubbed live through the P.A. mixing desk while maybe three rhythms, sound effects and chants play[ed] simultaneously."

Sherwood has also greatly affected the course of industrial music. After veering toward harder beats and the liberal use of sampling in his own music in the mid-'80s, Sherwood midwifed Ministry's transformation from poppy techno-weenies into the dark, edgy industrialists as whom they are known and feared today. It was Sherwood who transformed Jourgensen's faux-English pop singing into distorted, whispery menace, raised the electronic beats in the mix to a mechanistic assault, and brought in a heavy quotient of noise for percussive and atmospheric effect on '85's Twitch.

In '87 Sherwood produced the rubbery, jagged industrio-funk of Cabaret Voltaire's Code, with the dancefloor thumpers "Don't Argue" and "Here To Go." That same year he produced and remixed Skinny Puppy's syncopated, undulating "Deep Down Trauma Hounds," and in '88 he co-produced/co-mixed KMFDM's clangorous Don't Blow Your Top, including the dub/industrial tour de force "King Kong Dub Rubber Mix."

Sherwood completed his '80s industrial campaign by co-producing/remixing (with Keith Leblanc) Nine Inch Nails' hip-hop/industrial masterpiece "Down In It" from the seminal Pretty Hate Machine. Sherwood also remixed a sensational, churning version of "Sin" from the album.

In the '90s Sherwood ran his labels (On-U, Pressure), played/produced with Tackhead, Clail, Dub Syndicate and other configurations, co-produced the Fall, Shane MacGowan, Bim Sherman, and tackled a wide range of remixes.

At the end of the '90s he was particularly pleased with the musical state of affairs in England: "It's very much like the punk rock time really, a time of energy and optimism. None of the record companies know what to sign, there's loads of good underground, a good club scene going again, and people believe the music is their's. The drum and bass and jungle stuff, it's got nothing to do with any other country; it's our thing, which I think is great."