C

backlash's rating:
"Oxidizer"
pinksuture - Monkey God - White Room Black Eye - suture - Black Snake Voodoo Hiss - Force Quit - suture - Scornocopia - Megahurts - Binary Nation - Queen of Despair (Ode to the Diode) - suture

If there's one thing Jared and Co. have beat into their loyal audience, it's to never hold Chemlab in a box. The latest offering is Oxidizer, the band's first venture in nearly eight years.

Oxidizer starts with the "Pinksuture", a minute and a half long intro of remembrance to the glory days of coldwave. There is more than a touch of melancholy to this piece as you remember all that was, all that could have been, and what will never be. On guitar for this track is William Tucker, who took his life several years ago, and was a highly esteemed musician in the industrial music community.

After a pause, this ambience is immediately derailed by "Monkey God", the first full length song. The vibe totally shifts into a celebratory punk rockish mood - a song of victory, snagged from the bitter ash of defeat. This vibes remains to pop it's head up a few times thru the rest of the album.

"Atomic Automatic" is more akin to the band's early New York days, utilizing an aggressive stance heard rarely on the rest of the disc. Charles Levi (Sister Machine Gun/Thrill Kill Kult/Pigface) makes multiple appearances as the band's new bass player, and his style adds greatly to the mix. The Acumen Nation crew of Jason Novak and Jamie Duffy fuel the guitars and programming, giving the overall disc a Chem Nation vibe. However, it is certainly to their credit. Band frontman Jared Louche supplies the vox and lyrics, and as per usual, does a fine job. He still has something to talk about, and still knows how to clearly state what's on his mind without needing to stamp it into our faces. Which he does regardless, and with brutal efficiency.

The song "Megahurts" is a very sad track exploring the loss home and belonging. The musical arrangement on this particular track I can only describe as beautifully outstanding. "Queen of Despair", at first listen, comes off as almost silly. In a way, it's an excellent summary of everything Chemlab represents. Good beats. Peculiar lyrics. An odd sense of humour. A disconnection from anything real that is so great you can't help but feel your heart sink in spite of it all. The very last track is a suture including live audio of the old song "Jesus Christ Porno Star", one of Chemlab's finest moments.

I'm not sure why, but it seems like every Chemlab release makes an excellent swan song. Each record has a touching note of finality that you just can't shake when the album stops playing. Some would say that's because the band is expecting to self destruct. Others might think they just never thought they'd make it this long.

I'd prefer to think it's because by the time Chemlab comes back round again, we won't know who or what they'll be. Here's hoping.



mrdm's rating:
"Everybody Hates You"
This S*it Will Fcuk You Up - Enjoy The Abuse - Today I Woke To The Rain Of Blood - I’m Happy Anyway- Blut Royale - Who’s Your Daddy, Snakegirl? - Feed Your Anger - God Bless - Like To Thank My Buddies - Happy Fcuking Birthday - This Is My Rifle - Lying Sack Of S*it - Without Emotions

Combichrist is the side project of Andy LePlegua--best known from the band Futurepop band Icon of Coil. Now while many side-project sound very similar to an artist's main project (with various tweaks here and there), Combichrist is a complete departure from the sythnpoppy and dance-floor friendly sound of IOC. In general terms I would describe this project as treading the line between powernoize and EBM. Combichrist's earlier release The Joy of Gunz is probably would purists would label as real powernoize. Everybody Hates You incorporates more dancy elements and dampens down the distortion. Vocals are also much more prominent on this record.

I wouldn't call this album original or ground-breaking in any way, but it is extremely enjoyable to listen to! These songs demand you crank up your stereo. I suspect that these tunes would work well in a club setting or live. Utimately, this is all that matters with this type of music. Don't look for anything profound--just get down and start stomping away (and pray your downstairs neighbors don't get angry!)

On a humorous note, one of the charming qualities about imported music is the unintentional hilarity which ensues when vocalist for whom English is a second language pen some embarrassingly bad lyrics (see Funker Vogt's "Shaven" from Execution Tracks) or just out-and-out butcher pronunciations. This is (un)fortunately the case with this album as well. From "Enjoy the Abuse": "I swear I'll fist fuck your brain/until I'm smiling again. " "God Bless" features some rather bad attempts to pronounce the names of several prominent American serial killers. Jeffery "DAY-mer"? This doesn't really detract from the music in my opinion--it is so over-the-top and silly anyway.

So here's another recommended slab-o-sound to pick up if you are a fan of heavier noizy industrial dance.



mrdm's rating:
"Skyshaper"
Ritual Noise - Pulse - Happy Man - Brave New World - The Men - Sweet and Salty - Greater Than The Sun - 20Hz - Spindrift - The World Is Growing Loud

Convenant: the poor man's Depeche Mode?

Perhaps an unfair comparison--but damn, the lead singer DOES sound like Dave Gahan!

...and that's not necessarily a bad thing.

Programming-wise, Covenant is light-years beyond DM--especially after Alan Wilder jumped shipped and they started farming it out to trance DJs.

Very dancy and techno-y, but just enough industrial fuzz and dissonance to register it a cut above the other Futurepop cannon fodder out there.

"Ritual Noise" is the lead off track, and also the first single from the album. A futuristic, tribal vibe permeates this one. Perhaps not the catchiest song they've ever done, but passible indeed. I can't help that the lyric "rhythm of time" is a subtle tribute to EBM godfathers Front 242.

"Pulse" is a fairly innocuous song. Nothing stands out too much on this track.

"Happy Man"...wow! Immediately I think of EARLY synthpop stuff, such as Depeche Mode's Speak and Spell album. This sort of retro-sound is pretty popular now, so this wasn't too bad of a move on Covenant's part. The lyrics though? Hah. Simplistic, perhaps to a fault.

When you see the title, "Brave New World"--obviously it's going to bring to mind Alduos Huxley's influential dystopian masterpiece. As far as I can tell, this song has nothing to do with that. But it is a fun little tune! Way too upbeat to have anything to do with something so gloomy.

The poppiness continues until we get to "Sweet and Salty." A suprisingly ominous EBM spoken word track. After hearing this, I wish Covenant were a tad more experimental! Songs like this really break up the monotony of one happy dancefloor tune after another.

Ah, now things are getting interesting! "Greater Than The Sun" continues the foreboding and creeping vibe. It's almost like the album is divided into a "light side" and "dark side."

"20 Hz," "Spindrift" and "The World Is Growing Loud" fade into the darkness.

I am not very familiar with Covenant's backcatalog, so I cannot really say how good this is compared to previous efforts. On its own, it is an enjoyable and rewarding album to groove to. Not tremendously deep by any means, but most dance music isn't. The programming is interesting and the vocals are well-done. Perhaps a bit more variation and experimentation would make things more interesting, but that doesn't seem to fit into the band's formula.

mrdm's rating:
"Transhuman"
Frequency In Cycles- Order Out of Chaos- Insurgence - Transhuman - Deface - Axiom - Suspension of Disbelief - Actuator - Sensory Deprivation - Beta Blocker - Antithesis - Higher States of Consciousness

In a year full of reunions and comebacks in the world of industrial, one of the most exciting releases comes from a relative newcomer to the game--Cyanotic.

Weened on the Wax Trax! bands of the 80's as well as the coldwave/electronic rock of the 90's, Cyanotic gained a fair amount of attention with their initial release Mutual Bonding Through Violation. Many positive magazine reviews and brisk sales of the EP followed, and now the long-awaited follow-up Transhuman threatens to put the band definitively on the map as one of the creative bright spots in a genre packed with derivative clones.

Sonically, Cyanotic brings a lot to the table--mixing elements of electro, drum n' bass, EBM and metal to achieve their unique blend of audio mayhem. Old and new school fans alike should find plenty to capture their interest, whether you enjoy grooving to dancefloor beats of 80's Front 242, rocking out to Ministry's Psalm 69 riffage in the 90's or contemplating the wild experimentation of the radical IDM bands of the new millennium. One thing that can be said for Cyanotic is that they are never boring and repetitive. Every songs warrants repeated listenings to appreciate unearth the layers of programming of which the songs are constructed.

Song by song, here's how Transhuman breaks down:

Frequency In Cycles: A foreboding intro with cacophonous beats and disturbing samples. It does an admirable job of whetting your palate for the chaos to come.

Order Out of Chaos: The drum n' bass breakbeats initially cause you to question exactly what kind of album you are listening to--until the synth bassline kicks in--and then the "take that motherfucker!" sample launches the song into a blistering auditory assault. Dramatic pauses and glitching make this a fun track to listen to.

Insurgence: Initially, it reminded me of "Thieves" by Ministry--which is definitely a good thing. An uber-aggressive track loaded with political vitriol, spewing bile over the dangerously extreme conservative climate our country finds itself in today. There are some very nice relevant samples underscoring the smart lyrics in this song, especially at the very end. This is one of those songs that demands you crank it up to "11" in hopes of pissing off your Republican neighbors.

Transhuman: It begins with a moody, atmospheric, sonar-like synthline that really grabs your attention right away. Eventually it morphs into a dense, lumbering beast composed of thickly-layered programming and guitarwork. From a musical standpoint, one of the best tracks on the record. Get some headphones on to really appreciate this one.

Deface: Lace up your combat boots and stomp away while reveling in this anti-fashion anthem (whose irony will be lost on the Hot Topic set). The drum programming is the definite highlight of this song, which is fortunate as that happens to be the key element to every good dance track. Even though it also appeared Mutual Bonding Through Violation disc, it's still my favorite song of the bunch.

Axiom: An uncharacteristically calm and quieter track. Personally, I'm still not sure what to make of it, as the intention initially is to communicate a sense of menace or unease. Unfortunately, I don't really think this particular song achieved the vibe it was aiming for. (The percussion is excellent, however).

Suspension of Disbelief: This is another tune which graduated from the MBTV EP. Although it is a decent song, it was never one of my absolute favorites. However, now that the track has had the benefit of some reworking and extra-production tweaking by the Cracknation crew, my appreciate for this tune has grown. This is a lot more "punch" thanks to the higher quality production.

[Ex]actuator: A brief instrumental track showcasing the band's programming skills. (Revision: original I voiced some dissatisfaction that this track followed "Axiom," but it was brought to my attention that the track listing was altered to the order you currently see here. Consequentially, those reservations have vanished!)

Sensory Deprivation: Speaking of momentum, this song does a good job ramping things back up to speed. Coldwave fans will definitely be pleased at the copious guitar featured on this song with lots of cool effects thrown in to boot. Lyrically it reminds me a little of 16 Volt's "Perfectly Fake" off of Skin. "Make no mistake, you're fucking fake / Enjoy your suffering."

Beta Blocker: At this point in the listening experience, I can tell Transhuman is a quality album because we have good songs all the way to the end of the disc. Most CDs you listen to these days pack all the quality stuff at the very beginning and unload all of the crappy filler on you at the end. The paean to pharmaceuticals kicks ass on every level, from the superb drum n' bass programming to the Numb-like vocal work. Outstanding track.

Antithesis: Just when you think the album is going to let up, "Antithesis" batters you senseless and declares a TKO on your brain before you even reach the last song. Another holdover from the MBTV days, it has been completely transformed with beefed up synths and jackhammer percussion. Via comparison, it makes you appreciate the quantum leap in craftsmanship between the two albums. It's scary to think how good the next one will be!

Higher States of Consciousness: More instrumental goodness, which proves to be a thankful respite and opportunity for cerebral decompression.

So what we have here, boys and girls, is one of the best industrial releases in AGES. Don't hestitate to log onto cyanotic-online.com and pick up a copy for a mere $9.95. More crushing than a T-1 in a pneumatic press, this release will have you fantasizing about Skynet taking over and nuking Clear Channel from orbit. Remember: the machines know best.

D

"Dessau"
Suffer - Thanksgiving - Spinning on My Head - Move Seoul - Skeletons My Nature - Isolation - Cull - No Way - Sun 90 - Party Zone - Beijing - Unshakeable Remix

For in Philip K. Dick's book The Transmigration of Timothy Archer, the narrating character describes a sort of mental rebirth she experiences while reading a poem. The poem, she decided, contained one of those life-changing bits of mimetic wisdom that once you think about it, it's changed your life forever. However, it wasn't enough that she read the poem and just think about it a little. Turning it into a religious experience, she felt that God needed to use divinely induced pain to drive the point of the poem home into her memory. By God inflicting her with a painfully infected tooth on the night she chose to read the poem, the entire process of pain, drinking a bottle of bourbon, reading the poem, and finally driving drunkenly to the dentist in the morning made it absolutely clear how critical this bit of wisdom would be to her.

I thought a lot about this after listening to Dessau's self titled album, because listening to it caused me such intense pain that I kept wondering why the hell God wanted me to remember any of it. Where, dammit, was the life-changing bit of wisdom that I needed this divinely induced pain to help me to never forget?

Dessau holds the rare honor of being the first band to actually make me throw up. I'm truly impressed by this; I didn't even make it halfway through the CD before I was flipping my cookies. Let me now illustrate this immaculate experience for you in detail, so that you might learn vicariously from my mistakes and never ever try to listen to this CD yourself except either as a means of proving to someone a) what you had for breakfast b) you're actually dead.

Track one, "Suffer", should have prepared me more. The song's title doesn't come from some deep dark experience that the artist is attempting to describe to you lyrically. It's an invitation to listen to the rest of the album. Chorus: "Suffer! Suffer! Suffer! Well come on!" Twice the song just stops, and each time I caught myself begging out loud that the song was over, only for it to cleverly kick right back in with even more fantastic suffering fun.

By track two I was shaking a little bit but otherwise still breathing normally. Its called "Thanksgiving". I'm not sure why. Perhaps because after "Suffer", you're just glad the guy isn't yelling as much. This second song actually undoes the anxiety that the first one subjects you to, employing skillful use of tediousness, creating a rather un-fun bipolar experience. Exactly one minute and six seconds into the song you actually get to hear the artist yawn loudly at his own song. After dragging you along with them for about five minutes, the song just finally sort of dies.

Track 3, called "Spinning on my head", almost passes for a song. For one, it almost has a melody. Now, this isn't exactly necessary to make a song… tracks like Ministry's "Land of rape and honey" aren't what I'd call melodic, but I could easily listen to a 3 hour "Land of Rape" megamix and never be more content, because those guys know how to write a song. Lacking that talent, Dessau had to try a different tactic to interest me. But then, having heard the first two tracks, I felt anything at all would be a welcome change. Witness track 3 with all it's shitty synthetic instruments and classic lines like "My tears are sizzling!"

Oddly, the song's chorus is rather poetically visual. Some day a DJ will probably sample it out and spin it on top of something else, much to the delight and amazement of one whole person. The other odd thing about this song that I found amusing was that they use a fade at the end, suggesting that either the band just didn't know how to end it, or it's one of those songs that when preformed live goes on for fifteen more minutes and makes the audience step outside for a sandwich and a potty break. In spite of the fade, the song still cuts off suddenly while it's still audible, as if the guy making the recording just couldn't take it anymore.

By track 4, I started giggling a little bit. I was listening on a discman, on the street in public. I was determined to get through the whole CD in one listening, so to cope I began pacing back and forth. Passerby began staring. I have no idea how a band can distort its guitars so that they sound like chainsaws, and still manage to make a song boring at the same time, but this song manages it nicely. The way he kept yelling, "Push", I couldn't escape the notion that this song would be most appropriately used in a workout video "Sweatin' to the industrial, with Richard Simmons." Once again the relentless bipolar anxiety quality had risen. Subconscious anger with no point to focus it on… this song cleverly recreates the sort of frustration one can experience by working a dead end job as a cubicle jockey. Fortunately, track 4 is short, and dumps you fully unprepared and defenseless into the waiting mouth of track 5.

"Skeletons by nature" was the last straw for me. I had to find a restroom and start vomiting. I did not, however take off my headphones, because by then I had sort of hypnotized myself with what I realized was perhaps the most perfectly cliché song I'd ever heard. Colors began blurring and my head really hurt. Shit had been created in such quality and quantity, that it had become art. Halfhearted backup singers who accompany the chorus with a tone of voice that just screams "I'm so embarrassed I'm in this band, I hope Mom isn't listening". The "Buildin' it up just to tear it down again, tearin' it down just to build it up again" mantra that will forever embed itself in your repertoire of funny shit to say at parties when you're just too boozed to realize it isn't funny. The drum machine solos that suggest that the band was really supposed to keep playing, but they just kind of forgot to for a minute. It's a song that asks "Are keywords like 'skeletons' and 'Pain', a generally vague sense of dissatisfaction toward some undefined oppressor, and an obligatory sound byte of some old guy saying something weird all the qualities you want in the song you use to complete your skin-deep image when you go out clubbin' on a Saturday night?" Pure, distilled, crystallized Cliché. Like a musical mask that you can turn up too loud to talk over, so that you can fill time that you'd rather not spend trying to come up with something witty to say to your date. Like one of those political speeches that goes on for hours, seems to go somewhere, only later to be proven by a logician to have no content whatsoever.

Once I'd finished admiring my lunch and the song had ended, I ended my Dessau adventure. I will not listen to the rest of the album. Nobody can make me. Not even God.


[Die Warzau]
mrdm's rating:
"Convenience"
Crusaders - Go Going Gone - Permission - Radiation Babies - Glare - Bliss - Linoleum - Superbuick - Terrorform - Curious - Gone Chemical - Kleen - King of Rock and Roll - Come as You Are - As We Are So We Are - Shine (All Good Girls 2)

For fans of musical genre known as "industrial," 2004 was a year considered by many to be a comeback of sorts: new releases by Skinny Puppy, Ministry, Front Line Assembly, Chemlab, Hate Dept., HuG and others signaled a return harsh electronics and heavy guitar riffs mixed with post-apocalyptic lyrics. The mid-90's saw the greatest mainstream penetration of said genre with Nine Inch Nails' release of The Downward Spiral and Ministry's Psalm 69. We even saw industrial crossover acts like Gravity Kills and Stabbing Westward getting radio play. However, subsequent follow-ups by the above bands didn't fulfill expectations and the spotlight shifted to another flavor du jour. Labels such as the Wax Trax!, Re-Constriction and Fifth Column fell by the wayside and the music went underground--even more so than usual!

This brings us to another industrial band, which made a reappearance after a long seven year hiatus: Die Warzau. Now even though they are not considered industrial in the most modern and commonly accepted definition of the term, they perhaps are the best representation of the spirit of the genre as it was originally conceived--as an indefinable sort of "anti-music." Jim Marcus (vox) and Van Christie (programming) have delivered an album containing a vast cornucopia styles, textures and moods, constantly morphing and evolving into something new. At sixteen tracks and over an hour in length, it is virtually impossible to digest it on one listen or perhaps many more.

In an industry primarily populated with manufactured bands sporting a marketable single or two and eight tracks of filler, it is a complete novelty to experience an album literally crammed to capacity with fully-realized and unique songs. That is why the album is so hard to absorb; every track is important and logically leads you to the next, taking you on a journey that you really have to devote a full hour of intent listening to appreciate.

Die Warzau is also a band which has grown from a political tribal-funk affair to being a multi-dimensional and multi-faceted experience. Their previous album Engine has long been considered one of my favorites of all time. For me, it is for all intents and purposes as perfect album. Not a bad song, perfect track listing and flows magically from beginning to end. The approach used on this disc reminds me of what they did with Sister Machine Gun's The Torture Technique--linking each song with bits of sonic distortion (or "sutures" as Jared Louche from Chemlab calls them). This makes for a very coherent listening experience--an ALBUM in the truest sense of the word. Die Warzau is one of the few bands that could put a boy-bandish pop-savvy ballad like "Kleen" next to a chaotic and noisy track like "King of Rock and Roll" and have it work.

It would really take too much space to break down and dissect every song, as such a wide variety of musical styles are represented. Suffice it to say, the band still brings the noise, the funk, the beats, the pop sensibility and everything else we know them for from their backcatalog. If you enjoyed Engine, Convenience is a logical progression. Do yourself a favor and pick this one up! Even the packaging and jewel case are cool.

E

backlash's rating:
"Eisbrecher"
Polarstern - Herz steht still - Willkommen im Nichts - Schwarze Witwe Ruhe (Instrumental) - Angst? - Fanatica - Taub-stumm-blind - Dornentanz - Hoffnung (Instrumental) - Eisbrecher - Frage - Zeichen der Venus - Mein Blut - Sakrileg 11 - Fanatica-Club-Mix

It's readily difficult to analyze a German industrial band without such mainstay acts as Rammstein, KMFDM and Laibach immediately coming into mind. For the unassuming American, harsh German lyrics and danceable beats are not readily distinguishable from one Geman band to the next.

In the case of Eisbrecher's 2004 sonically well-produced full-length debut, I find myself caught up in the same problem. On the outset we have the opening track "Polastern"--a moderately paced, grinding tune more akin to the noise elements of more experimental industrial music. This intro track bleeds seemlessly into the next the more melodic, guitar-driven "Herz steht still." This is a more upbeat track featuring typical symphonic touches in the chorus. A very gothic atmosphere rears its head before you even get a chance to notice. Overall, a strong opening to the record (just not original).

Things turn brighter and build momentum with the next song, "Willkommen im Nichts." Immediately the band define their sound and style much more powerfully. An aggressive dance song with guitar even more prevalent, rooted with quirky synth basslines and impressive vocals, I can easily imagine this will be one of Eisbrecher's big club hits. An English translation of the lyrics are also quite interesting. This is a band that just doesn't string along neat sounding syllables together.

Following this display of industrial rockness, "Schwarze Witwe" slows the pace and offers the listener a gruff, repetitive dance tune. Relying heavily on a sample of distorted female vocals, this track is still quite enjoyable to listen to, but ultimately reveals itself to be an average filler track.

The mood and energy come to a complete standstill with "Ruhe"--a piano-based instrumental piece only a few seconds long. Out of the blue another strong guitar driven dance track, "Angst?" lays waste to the somber feel and delivers where the previous two tracks fell short. Very similar to "Wilkommen im Nichts" in energy and style, I'm also reminded of Rammstein circa Sehnsucht, with a better singing voice.

"Fanatica" is this record's clear Club Hit Winner(c); an almost completely electronic-based dance song, featuring an english speaking female vocalist. Once again, even more so, I'm reminded of Rammstein circa Sehnsucht. This is a song I could enjoy more if I wasn't getting the strong feeling they were more interested in a club hit than making a really good song. To their credit, they accomplish both.

"Taub-stumm-blind" has a real machine rock feel and a cyberpunk attitude. Sonically, it's one of the most impressive songs Eisbrecher have to offer. Very fun and definitely superb to fuck to. The beats in this song are great.

To conserve space, I'm going to spare anyone from reading a play-by-play of the rest of the album. Overall, Eisbrecher is an extremely well-produced, composed and performed work. The band's style remains largely consistent without getting tired or too repetitive. This band is far from pushing sonic envelopes or musical experimentation --but when compared to recent releases by KMFDM, Laibach, and Rammstein, this record easily surpasses all three in palatability, reply value and catchiness. And if you're a fan of one of these bands, there is little to no chance you won't love this record.

F

mrdm's rating:
"Strain"
Uprising - Haven - Reflect The Enemy - The Eucharist - Recoil - Seethe - Voice of Dissent - Beneath Contempt - Amoeba - The Collapse - Epiphany - This Broken Dream

As I mentioned in the preface of the Flesh Field interview, my first exposure to this band was 2001's Belief Control. In all honesty, it was a CD that I felt had a couple really outstanding songs, but as a whole it did not blow me away. I certainly enjoyed Ian's thickly layered programming and danceable beats coupled with classical crooning of female vocalist Rian Miller--but their was something lacking. My sense was this band had a vast untapped potential.

Consider that potential realized with Flesh Field's new CD Strain. One significant improvement in their sound is the addition of new vocalist Wendy Yanko to the mix; her aggressive style really compliments the ferocious intensity of the songs. She's also a lot more creative than Rian when it comes to modifying her approach to fit a particular tune.

The programming is still top-notch as always, but Ian manages to up the ante in a major way with this release. The ominous intro to "Uprising" will send a chill down your spine. The highlight of the CD, "Reflect The Enemy," has all sorts of catchy synthlines and beats that could easily fill songs of their own. It is here we see that a hallmark of this band is quality, not quantity.

In a way, Ian's approach to music-making reminds me of prog rock, where a song can begin in a certain way and completely evolve and change into something else by the end by virtue of the numerous ideas therein. I call this "headphone music" because it's worth taking a closer listen to fully appreciate the end result.

It's also worth mentioning that this collection of tunes features Flesh Field's first foray in incorporating guitars into their songs--and it really works well! Electro purists will be relieved to find out that Flesh Field has not turned into Gravity Kills; the guitars are strictly a supplimentary addition to the overall soundscape. Think the ultra-compressed ax-work you might find in Nine Inch Nails' Pretty Hate Machine. Not overbearing at all, and very complimentary.

And speaking of NIN, Flesh Field to tend to evoke that band lyrically. Rivetheads tend to be a bitter and surly lot--so this is good news! In all seriousness though, the added bonus of having a female voice in the mix is that you get "both sides of the story." The Yin and the Yang, in other words. (Trent's girlfriends may have all been absolute bitches and whores, but somehow I doubt it!)

As you can infer from this review, Flesh Field is definitely one of my current favorite bands and I do heartily recommend you pick up their latest CD. Just so you won't think I'm a total shill, here's some constructive criticism that the band can take or leave: every track does not have to be a full-out balls-to-the-wall industrial anthem! Mix it up a little with some ambient pieces or instrumentals to break up the unrelenting assault. The right mix of aggressive and mellow tracks can make an ALBUM (with a captial "A") instead just a collection of cool songs.

Here's hoping that Flesh Field stay the path of experimenting and expanding their sound. In such a stagnant genre, creativity is the key to keep things fresh and interesting, and also make you stand out as a cut above. The future looks bright for this duo to say the least.

Is Flesh Field The Next Big Thing? Only time will tell...


backlash's rating:
"Love"
R (Not Adam) - Mon Agonie Douce - Aladdin Reverse - Miracle - Don't Want Me Anymore - Blessed Evening - Pareidolia - Thrush - Time Marches On - How To Vibrate

If I and the rest of the world had to judge J.G. Thirlwell by the music he creates, I would think only a small space of time would pass before this sick audio psycho was locked away somewhere in a damp, dark, padded room.

Or thrown up against the wall for destroying the innocence of youth.

Regardless of whatever sort of person Jim Thirlwell is in real life, the latest opus Love is truly inspired. Taking obvious cues from some of his recent projects Manorexia and Steroid Maximus, Love is easily the most original and unique record in the "Foetus" canon. Aside from Thirlwell's trademark howl, it is quite difficult to imagine this is the same studio obsessive who crafted such brilliant industrial records as Hole and Nail in the early-mid 80's. A good dose of the fare Love has to offer belongs in an orchestra hall, not some seedy New York underground club. Only a vague hint of Thirlwell's former industrial madness remain. A new mania has clearly overrun here.

The instrumentation is wildly varied, and each note resonates with subtle, then chaotic, impact in each song. Each bursts with uniqueness, and is well arranged and beautifully realized. Another suprising first takes place in the form of "Thrush," the first Foetus song ever to include a female vocalist. The effect of Jennifer Charles' harmonic moans and Jim's raspiness create a suffocating, eerie presence the throbbing bass line only amplifies.

The overall mood of this record is comparable to wandering through the black meadows of Hell's open pastures, and reveling in the glory of it all. Enough said.

Love also sports a bonus DVD, featuring two new videos for the record--the first featuting a directing stint courtesy of Karen O of Yeah Yeah Yeahs fame. Other video segments on the disc include ads for the Venture Bros, a cartoon Thirlwell composes for, and a sneak peek at an upcoming documentary on the Thirlwell on his many projects. The visual gem is a live performance from 1992 of an exceptional rendition of "I'll Meet You In Poland, Baby".

An outstanding package.

G

mrdm's rating:
"Viscera"
The Source - Inside Out - False Pretense - Still So Strange - Lucid - A Night Like This - Sections - Foreseen - Lost Time - Winter Torture - A Simple Restriction

If I were to catagorize God Module the band, they would fall under the label known as "Harsh Electro"; punishing miltaristic beats, heavily distorted volcals and simplistic minor chord synthlines. As you can guess from this description, the genre leaves a bit to be desired in the creativity department. I've always said that all anyone really needs is one Funker Vogt album and you've pretty much covered all of the bases.

God Module--to their credit--actually push the boundaries and incorporate stuff like MELODY into their work. I know--shocking stuff, but bear with me. Sometimes the band comes across as Depeche Mode's evil twin. Since this type of music is often pretty one-dimensional (especially with the nearly unintelligible vocals), any sort of distinctive element is welcome. You can actually tell the songs apart!

One thing you might be suprised to learn is that each of the three members of God Module sing in the band. Two problems with this, however: one, the two male vocalists pretty much use the same exact vocal distortion effects, so telling them apart is pretty difficult. I'm almost wondering what the point of it is! Secondly, Courtney--the female of the group--has a KILLER voice and only gets to exercise it on a couple of tracks. If these guys were smart, they would get her onto a lot more tracks a la Flesh Field, and perhaps even have tracks which feature her exclusively. Check "Still So Strange" as an example of what I'm talking about. Fantastic stuff.

GodMod also enjoys throwing in the occasional sample into a song. Not overbearing, and generally complimentary to the vibe of the song.

A Cure cover also makes an appearance on this disc--"A Night Like This." Now this could've sounded REALLY horrible considering the radical transition in sound between mopey/wailing goth musik and stompy satanic EBM...but GM manages to pull it off.

There is a double-disc version of Viscera out for those who are obsessed with the band and need every remix and b-side. Personally, I wouldn't really recommend spending the extra bucks as there isn't anything terribly mind-blowing on disc two.

This is a good album for people not familiar with the whole Harsh EBM thing and want to test the waters a bit to see if it might be to their liking. Also, if you find stalwarts of the genre such as Funker Vogt to be way to repetitive for your tastes, you might give these guys a try instead.

Recommended, and also check them out live--they put on a great show.


H

backlash's rating:
"Throb"
Why? - Feel - Vapour - My Sacred - Junky - Out There - Punch The Deck - Love Mechante - Tonight My Body Feels So Tight - Permanence - So Volatile - Drugbeat

Haloblack's latest, Throb, lives up to its pulsating, rhythmic title.

Heavy on the static, thumping synthetic basslines and drumbeats, the only real disappointment this disc provides is its length, a mere 41:47. The first track "Why?" is a brief lesson in semi-random static and a test in pushing the listener's envelope. The next song, "Feel" adds a bit more dance and rhythm to the mix, and determines the flavour and mindset for the rest of the record.

The disc wields a harsh, caustic yet subdued tone, and flaunts Bryan Black's impeccable programming style. Each track shares a stylistic vein without beating the same terroritory to death. A pleasant feature on the album is the song "Junky," a more resin-stained version than the one featured on the latest Pig album Pigmata.

Black's fierce and raspy charcoal vocal style blends well with the harsh and fluid sounds, especially on "Vapour" and "My Sacred." The quintessential anthem of this disc is the old-school inspired track "Punch the Deck" boasting Raymond Watts of Pig on vocals, and former 16 Volt musician Kraig Tyler on guitar.

Throb, while experimental in its way, doesn't lend itself to gratuitous, unlistenable machinations of sound and veers a substantial distance from the mass of future pop, currently a plague on the dance floors of the industrial/gothic scene.

A definite recommendation, especially for fans already familiar with Black's work in the group Hellbent.

I

mrdm's rating:
"Uploaded and Remixed"
Shallow Nation [2004] - Floorkiller [2004] - Repeat It [Apoptygma Berzerk] - Regret [Combichrist] -Simulated [Funker Vogt] - Thrillcapsule [Moonitor] - Access and Amplify [FGFC820] - You Just Died [Northborn] - Love as Blood [Implant] - Floorkiller [Daedal] - Disconnect [Goteki] - Everything Is Real [Isle of Crows] - Been There - TB Memory

Remix albums are always a calculated risk, even if you are a big fan of the source material. Chances are there is going to be a portion of the album you won't like due to the mixture of the many difference styles from all the different artists participating.

Also, remixes tend to be of two varieties: 1) a conservative alteration of the core elements to produce a slightly different vibe and 2) a radical reinvention and experimentation that may make the original track unrecognizable. Fortunately, the remixes on this CD are the former type, playing to the strengths of Icon of Coil as a primarily club-oriented band. All of the tracks are taken from earlier releases (Soul Is In The Software, Serenity Is The Devil) and are given a dancefloor makeover. Many of these mixes are even superior to the originals, which is a rareity with these kinds of album. The result is a very enjoyable stompy updating of classic Coil trax.

Strongly recommended!

J
mrdm's rating:
"Never Breathe What You Can't See"
Plethysmograph - McGruff The Crime Dog - Yuppie Cadillac - Islamic Bomb - The Lighter Side of Global Terrorism - Caped Crusader - Enchanted Thoughtfist - Dawn of The Locust

In the tradition of his collaborations with Nomeansno and D.O.A., Jello Biafra of Dead Kennedys fame teams up with one of the heaviest and most esoteric bands ever, The Melvins. Fans of The Melvins may be disappointed that the experimental nature of the band doesn't really come through on this disc; the band primarily serves as a uber-riffing juggernaut backdrop to Jello's familiar caustic rants against the evils of the right wing. As expected a popular theme throughout the album is the impact of our current administration on our freedoms, the environment and the world at large. Fans of the Ministry side-project Lard (which Biafra also fronts) would probably be most receptive to this new collection of songs--there's a similar fun-loving punk rock vibe found within. Even if you don't agree with the politics, the music alone proves that Biafra is still a vital force and relevant as ever.

K

mrdm's rating:
"Hosannas From The Basement of Hell"
This Tribal Antidote - Hosannas From The Basement of Hell - Invocation - Implosion - Majestic - Walking With Gods - Lightbringer - Judas Goat - Gratitude

"Lift up your spirits!" Jaz Coleman bellows on the opening track of Killing Joke's newest upcoming album Honsannas From The Basement of Hell. Coming hot off of the incredible return to form which was 2005's Killing Joke this group of post-punk veterans have wasted no time at all delivering another brutual sonic and lyrical assault. Clearly these guys are having the times of their lives!

Some bands grow old, mellow out and become shells of their former selves. No more drugs. No more booze. They've got families and responsibilities now! What is there left to rebel against? Let's just crank out another Greatest Hits disc and go on yet another Farwell Tour to cash in on nostalgia. The is exactly the opposite modus operandi which propells Killing Joke into the new century. If anything, the music has become more frantic, unrelenting and powerful than before. Some things remain the same, however:

Geordi still weaves--zen-like--punishing and head-snapping riffs of multi-layered complexity which rocket the band forward like a runaway train.

Raven's thick and pulsating bass adds a vital dimension and structure to Geordi's wall o' noise bombardment.

Jaz's raw and abrasive voice--one of the most unique in rock--continues to deliver insightful and poetic lyrics ruminating on politics, death, ritual and spirituality.

After titular track number two (another hot and heavy punk rocker), "Invocation" revisits a similar approach Killing Joke used in their acoustic-flavored album Democracy. A slow, grinding juggernaut offset by stabbing orchestral strings. An outstanding track on a disc full of winners.

"Implosion"--I can't help but think of "Asteroid" off of last year's album. Two definite pit-starters. Played back-to-back, the entire audience would probably be carted off in a fleet of ambulances.

And it continues...nine tracks brim with intensity and passion. Many are LONG, but don't feel that way at all! I hope when I'm still willing to rock as hard as these guys when I get up there in years. On "Walking With The Gods," even the hand-claps are scary! "Lightbringer" is a nine-plus minute clarion call of the apocalypse. I could go on singing the praises of "Judas Goat" and "Gratitude," but you get the idea.

A near-perfect CD, surpassed only by KJ's prior album. I have to tell you though, the more I listen, the more it grows on me. This could eventually become my favorite Killing Joke album ever.


backlash's rating:
"Hau Ruck "
Free Your Hate - Hau Ruck - You're No Good - New American Century - Real Thing - Every Day's A Good Day - Mini Mini Mini - Professional Killer - Feed Our Fame - Ready To Blow - Auf Widerseh'n

I have to admit, I have had some serious reservations about how I would feel about another KMFDM record. Brand KMFDM has been tiresome, less of a source of quality music in my mind; more of a machine to sell the continually expansive KMFDM clothing line.

In a number of respects, there aren't any real surprises. The usual artwork layout, the familiar politicized lyrics. In a lot of ways this is generally what people look for in a KMFDM record, and the reason deep down as to why so many love them.

Instead, this new record shows KMFDM at their best since their reformation in 2001. Newer members Andy Sellway, Steve White and Joolz Hodgson have finally become fully incorporated into the new ensemble that KMFDM has become since the departure of singer En Esch and guitarist Gunter Schultz in 1999.

One major selling point of this record is that Lucia Ciafarelli's singing continues to improve. Her voice on many songs, particularly the fluid, dance-driven "Professional Killer" melds perfectly into the soundscape, and helps define this record overall. Another great aspect with this disc are the increased use of German lyrics. Always a bonus on previous KMFDM outings, this time around is no exception. The notable absence of Pig's Raymond Watts also frees up the five member group to explore and conquer more territory of their own, which shows in a positve way.

Throughout the disc, the tone and noise is down shifted a few notches from the head banging, ultra paranoid fare that WWIII epitomized. While maintaining their edge, and flaunting it at a number of opportune moments, KMFDM have harnessed the guitar riffs into a more palatable, forever catchy fashion that is much more enjoyable than on the previous two records. A real variance comes in the form of "Real Thing", a track that gives the finger to any and all industrial or heavy metal convention. This is very tame piece you would expect to find on a Garbage record. The song makes for a nice segue into the latter half, and really reinvents KMFDM on a smaller level.

In the end, I have to say this is KMFDM's best since Symbols...fun, catchy, and sonically rich.

L

mrdm's rating:
"Anthems"
Disc 1: Das Spiel Ist Aus - Tanz Mit Laibach - Final Countdown - Alle Gegen Alle - Wirtschaft - Ist Tot - God Is God - In The Army Now - Get Back - Sympathy For The Devil - Leben Heisst Leben - Geburt Einer Nation - Opus Dei - Die Liebe - Panorama - Drzava - Brat Moj - Mama Leone

Disc 2: Das Spiel Ist Aus (Ouroborots Mix) - Liewerk (Oktober Kraftbach Mix) - Wir Tanzen Ado Hinkel (Zeta Reticula Mix) - Final Countdown (Beyond The Infinite Juno Reactor Mix) - God Is God (Optical Mix) - War (Ultraviolence Meets Hitman Mix) - God Is God (Diabolig Mix) - Final Countdown (Mark Stent Alternate Mix) - Wirtschaft Ist Tot (Late Night Mix) - Jesus Christ Superstar (Random Logic Mix) - Wirtschaft (R. Hawtin Hardcore Noise Mix) - Brat Moj (Random Logic Mix) - Smrt Za Smrt (Octex Mix) - Wat (iTurk Mix)

Apparently there are two schools of thought concerning Laibach: one, they represent a post-modern and ironic look a pop music and a "high art" commentary on the culture that produces it; two, they're a band that makes it's dough churning out "industrial-ized" covers of old standards and uber-cheesy pop tunes. If you read the extensive essay that serves as the liner notes for Laibach's latest Anthems, you'll see that the author Alexei Monroe fully subscribes to the former viewpoint. In fact, he goes so overboard with this trying to place Laibach in the pantheon of artistic gods that I start to suspect that Monroe might be the pseudonym for someone that works for The Onion. It all comes across as one of those B.S. papers you wrote in college where you try and sound all intellectual by loading up the text with $10 words you found in a thesaurus and make all sorts of grand-yet-vague statements about the nature of art. That being said, the packaging for Anthems is still one of the most attractive I've run across in ages--bound as a mini-hardcover book, the two slipcovered CDs are divided by a thick volume of glossy pages packed with text and artwork. Unique presentation goes a long way in an industry that isn't too creative when it comes to delivering its standard jewel-cased product. (I've always felt that things like this could be effective and preventing rampant illegal downloading, but that's a rant for another time).

One flaw I've found with the idea of a "greatest hits" album is that bands who work in the context of making ALBUMS--not just "hit singles"--aren't well-served by this format. When you pull a song out of the context of the greater whole of the work, it loses a bit of it's meaning and relevance. I feel this holds true in Laibach's case as well. "God Is God" is a pretty cool song on its own, but when you listen to the entire Jesus Christ Superstars album, the tune takes on an entirely new dimension. Laibach is also one of those bands that constant evolves from album to album, and one will sound completely different than another. This adds an element of discontinuity to a greatest hits album as well, but Laibach gains a little cohesiveness by presenting the tracks in a backwards chronological fashion; more accessible recent tracks kick off the album and progress to the more obscure and inaccessible stuff they did earlier in their career. All in all, it's a very good overview of the band's body of work.

True fans of Laibach likely have all of the albums anyway, which brings us to this collection's main selling point--the remix disc. As far as I can tell, these remixes have all been released previously. This is not necessarily a bad thing, as American fans most likely don't have access to any of these except via import. The mixes themselves are actually pretty good, and range anywhere from those that alter just a few minor elements of a track to those which completely strip out core components and add layers of additional programming. Some of the more serious and plodding tracks are transformed into high-BPM rave-ish affairs, which is interesting to hear. Personally, I would have loved to have seen Laibach recruit some modern names in industrial to re-interpret their songs. For example, how about EBM groups like Wumpscut, Funker Vogt and Hocico or Futurepop groups like Apoptygma Bezerk, Convenant or VNV Nation? I guarantee a lot of modern industrial fans would have snapped up this release in a heartbeat for mixes by those artists. Nevertheless, the extra disc and packaging do pretty much justify the $20-plus price tag of this collection.

If you aren't familiar with the work of Laibach and consider yourself a fan of industrial music, this collection isn't a bad place to start. However, I would say that you'd probably be better off just buying the albums themselves, as they are all pretty remarkable in their own right. Just keep in mind that the older stuff like Kapital is harder-to-get-into true-blue industrial, while more recent albums like Jesus Christ Superstars are more melodic and accessible. (All you Rammstein fans--check out the aforementioned CD to see where they stole their sound from!) My personal recommendation would be to pick up Laibach's last studio album WAT, which is a well-done fusion of their previous styles. Its songs are not too "out there" and esoteric, but the instrumentation on the songs are definitely in the old school vein (not a guitar riff to be found anywhere!)

While there is an undeniable novelty in listening to an ultra-baratone complete warp Europe's uber-silly "Final Countdown" or the Beatles' classic "Get Back," the band does have an actual message behind their music and innovative talent to back it up. Maybe they aren't the mind-blowing and world-changing "artistes" that Monroe would have us believe, but they are a worthwhile addition to the collection of electronic music fans everywhere.

M

backlash's rating:
"Rantology"
No W Redux - The Great Satan - Wrong Update Mix - NWO Update Mix - Stigmata Update Mix - Waiting - Warp City - Jesus Built My Hotrod Update Mix - Bad Blood Alternative Mix - Animosity - Unsung Alternative Mix - Bloodlines - Psalm 69 Live in Paris - Thieves Live in Seattle - The Fall Live in London


Ministry's self-congratulatory release, Rantology is a pretty good example of record label excess. First off, I HAVE to complain about how God-Awful the artwork and layout for this disc is. I've seen some bad covers in my day, and this is towards the top of the heap. For Ministry, I don't hesitate to say the worst. The liner notes include a several page essay on Just How Amazing Al Jourgensen is, courtesy of Metal Edge writer Mick Stingley.

Now, packaging aesthetics aside--there are some very interesting pieces here.

Updated remixes of "N.W.O" and "Stigmata" produced the best versions I have ever heard of these tracks, and set the replay value of the album as a whole much higher than it would be otherwise. Stigmata's new intro, new vocal track and additional electronic noise make for one of the most intense industrial anthems ever conceived. Other worthy remixes include "No W" from Ministry's last record, Houses of the Mole. Additional samples of President Bush and lengthier opening improved that song dramatically. The new version of "Jesus Built My Hotrod" is akin to what you can find on the 1991 Warner Bros. single, while featuring additional samples and engine noise.

One of the less substantial remixes is of "Bad Blood," from the 1999 Warner album Dark Side of the Spoon. A terrible amount of effort didn't really go into this one; a repetitive synth line reminiscent of "You Know What You Are" (Land of Rape and Honey, 1988) begins the song and for the most part it's just a semi-successful attempt at making the song more "industrial." While the remix work doesn't detract from the song, it doesn't really add anything to the song that sets it truly apart from its original version.

Two new songs also grace the album, the uninteresting thrash-metal of "The Great Satan" and an almost ridiculous track, "Bloodlines." "The Great Satan" is pretty much exactly what you would expect Ministry to write at this phase in their career, and is a fine candidate for repeated skipping. "Bloodlines" is a sad, probably unintentional parody/ripoff of one of Ministry's greatest, "So What" (The Mind is a Terrible Thing to Taste, 1989).

A big buzzkill with the disc are several songs from Ministry's other three Sanctuary releases, featured here in their original forms.

For what it is, a shout out of Ministry's former glory days and a promotional tool for Ministry's Sanctuary catalogue, it does a decent job. I'd recommend waiting out buying it new at $18.99. Not worth half that. Check out a local record store in six months and grab it used.


backlash's rating:
"Side Trax"
Pailhead: Man Should Surrender - Anthem - Don't Stand In Line - Ballad - I Will Refuse - No Bunny // 1000 Homo DJs: Apathy - Better Ways - Supernaut - Hey Asshole // PTP: Rubber Glove Seduction - Favorite Things - Show Me Your Spine // Acid Horse: No Name, No Slogan (Hypo Luxa/Hermes Pan) - No Name, No Slogan (Cabaret Voltaire)

Originally unleashed as individual 12 inch singles and EPs, Side Trax is an anthology of Ministry's drug induced side project days with the legendary, and now defunct, Wax Trax! Records. Kicking off the collection is Pailhead's "Man Should Surrender", a burst of high energy industrial punk. Reminiscent of Ministry's Rape and Honey era with a more organic edge, Pailhead's six song contribution has a somewhat comedic take on social follies. "Don't Stand in Line" and "I Will Refuse" are strong statements against the status quo and swallowing all the world claims to offer. Ian MacKaye of Fugazi guest stars as vocalist.

Next we have 1,000 Homo Djs, Ministry's most memorable project next to The Revolting Cocks. "Supernaut" features Trent Reznor of Nine Inch Nails doing a good amount of justice to the Black Sabbath b-side. "Hey Asshole" is a fan favorite - a vocal sketch of a police officer giving some stoners a bad time whilst the chant 'hey asshole' loops in the background. The other two Homo tracks, "Apathy" and "Better Ways" are a lot less imaginative, and nearly drown themselves in their own weight and lack of direction.

PTP, or Programming the Psychodrill, has all three songs here for listening pleasure. "Rubber Glove Seduction", a fan and dance club favorite features Chris Connelly (Pigface/KMFDM/Revolting Cocks) on vocals. A skewed version of the Sound of Music's "My Favorite Things" is taken to a more perverted angle. The real gem here however is "Show me Your Spine", sung by Nivek Ogre of Skinny Puppy. Originally recorded for the film RoboCop, the track has never been previously released. One of the more harsher songs on the disc, and very akin to the b-side of Ministry's Twitch.

Side Trax concludes with a song, and remix, of "No Name, No Slogan" by Acid Horse. A collaboration with industrial pioneers Cabaret Voltaire, the Ministry version of the song is somewhat bland and repetitive. The Cabs version is far superior, offering a nearly 9 minute soundscape of danceable techno industrial.

This is an excellent offering for any Ministry fan in general, and especially for those who are unfamiliar with Jourgensen's side projects. However, if you already have the original releases, the "Show me Your Spine" track by PTP is your sole purchasing incentive.



backlash's rating:
"Diamonds and Daggers"
Dream 101 - Devil Rider - Hot Rod Boys - Mz Disco - Sex Whip - Out 4 the Kill - Mondo Fever - Flesh Star - Young Tongue - Evil Lover - Dope Kult - The End

You'd think that four years after the release of the flop "Reincarnation of Luna" that TKK might have tried to make a little effort. Maybe, MAYBE, not make an album centered 100% on, oh, sex? Or play around with some new sounds?  I would love to comment on the postive elements of this release, but alas, I am up a creek. The only thing this disc is good for is background elevator music, or geriatric viagra fuck fests. Honestly - you can't listen to this and not know the inevitable 'calling it quits' is rearing it's ugly head - just around the corner.

Okay okay, there is one good thing about this release. The fabulous bass stylings of one Charles Levi

Wait! He's not on this one...

N
backlash's rating:
"Guide To Extinction"
Shallow - I Lie - Alibi - Passion - Walk Away - Indulge - Class War - Nothing - Dirty Sanchez - No Way Out - Cocaine Sex - They'll Never Find Your Body

Nocturne's new full length album, Guide to Extinction doesn't offer much in the way of the unexpected or unexplored. The opening track, "Shallow" sums this disc up best: "I'm here to disappoint." And disappoint they do--to a degree.

I freely admit, I had higher hopes for this band, and this record. On Nocturne's last two offerings, Paradise Wasted and the fabulous companion remix disc Mixes of Mass Destruction, it was impossible to ignore this steadily-rising band. Both of those records show a band which is still developing, still learning and still finding their voice and their style. By the time the unimaginative guitar intro on the second song, "I Lie" arrives--you know you've been duped.

The production quality and arrangements on Guide to Extinction ARE vastly improved, however. Singer Lacey Connor vocal range and style are particular