Fear Factory: Archetype

When Fear Factory announced that they were disbanding, I was crushed. My favorite band was to be no more. For a few years, the internet was filled with rumors of the band reforming, but none ever actually materialized. More of my hopes were dashed when I learned that two new releases were slated for 2002 and 2003 respectively, although they would be compilation albums, which, on the surfer were interesting, but new material they were not. Then, after reading an article in an issue of Brave Words and Bloody Knuckles, I saw a blurb that mentioned that Fear Factory was indeed reforming and would put out a new album in the Spring of 2004. I, of course, didn’t want to get my hopes up, but when the band confirmed the news on their website, I was elated. It had only been three years since the release of “Digimortal”, which in hindsight, is not long between studio releases. However, the wound of the breakup was still raw, which made the wait seem much longer. The anticipation was almost too much to bear as more and more details emerged about the new album until, finally, “Archetype” hit the shelves.

“Archetype” would mark a new chapter for the band, both creatively and lineup wise, as this would be the first release without Dino. His absence was a result of some inter-feuding with Burton and others, which led to the initial break up, but we’re not going to go into detail of all that here. The change would shift the responsibilities of songwriting and guitars to Christian Olde Wolbers, who had played bass on the previous two albums and would record the bass tracks in studio. The situation is similar to how Dino handled the task on the first two albums. This was a tall order to tend to, as Dino’s touch on both the creative side and guitar playing would not be easy to replace. Fortunately, the band decided not to simply try and replicate Dino’s sound and instead, move forward with a fresh take on their cyber metal infused industrial act.

Now, I must admit, I had my doubts about Wolbers taking over such a vital aspect of the band, but I’m proud to admit, that I was a fool to do so. The music on “Archetype” both captures the essence of the band’s past mantra, while also inviting a more modern sound, but by no means is it formulaic or vanilla, if you get my drift. The guitars offer plenty of crunch and groovy riffs, many of which are dark and moody. The lead in the opener “Slave Labor” showcases the simple, yet effective nature of said brooding riffs as many consider the song to be one of their most unique. “Cyberwaste” turns the guitars up a notch and shows Wolbers capability to play a more fierce and energetic sound, creating both the angst and rebellious nature of the song. Throughout the album, he plays a variety of catchy riffs that are both memorable and act as a binder for the overall sound, harnessing the industrial sound Fear Factory play so well.

In addition to the guitars, his bass playing is on full display, often delivering huge and crunchy notes that harmonize with the guitars very nicely. The thick tone offers a nice addition to the layered sound on “Archetype” offering a mechanical punch to the overall atmosphere. I suppose manning both duties and having more songwriting responsibilities gave him the ability to showcase his talents, which at the end of the day, were on full display.

Raymond Herrera’s drums, once again are a work of art on this album. His precision beats, destructive blasts and machine gun bass kicks give “Archetype” an attitude the screams power and command your attention. His style has always offered a mechanical like sound to the makeup of the band, and his tempos and rhythms he puts forth on this release shows just how vital a drummer is to a successful band, especially one that can play a variety of tempos and adjust his sound accordingly from album to album.

Of course, one cannot forget Burton C. Bell and his household blend of harsh and clean vocals. As usual, Bell’s harsh vocals are rooted in violence, contempt and anger as the blaze forth and ignite a sound of fury that was missing from the likes of “Digimortal”. “Cyberwaste” showcases the attitude his voice carries, while on songs such as “Slave Labor”, “Bite the Hand That Bleeds” and “Act of God” shows his ability to carry more mid-leveled ranged vocals. His cleans are once again, crisp and mesmerizing, which leads to a number a catchy and memorable choruses on many of the songs.

Mr. Unofficial, Rhys Fulber, would once more add a heavy dose of keys, programming and electronics that help darken the mood of the album, while maintaining the industrial spirit of “Archetype”. Of course, Fulber is not always alone in the programming and effects department however, he has been a mainstay since 1993 and his influence has long been a key factor for the band, which is why I always give him an additional tip of my cap.

Although perhaps not so much a comeback album as much as it is a reload, “Archetype” was a welcome breath of fresh air for both longtime fans and metal heads alike. And with that, Fear Factory was back in full force. Fans’ concerns of a permeant break up were put to rest and the band had already announced they were working on new material. The was looking bright, but for how long….

Highlights: “Slave Labor” “Cyberwaste” “Archetype” “Undercurrent” “Drones”

Rating: 4.5