Channel Zero: Unsafe

I can’t comment on Channel Zero’s other releases (although I have their debut on my to do list), but apparently these Belgians started out as a thrash band, but made their entrance into the dead era of thrash. “Unsafe” on the other hand, is a groove/alternative album that, at the time of its release, was the more accessible sound the mainstream outlets were pumping out. I suppose they were like other thrash and death metal bands that were looking to hop off their respected genre train and hitch their wagon to a more hopeful future. That being said, not everyone can make the transition from one style to another. This is the case with “Unsafe”.

Overall, the music on “Unsafe” is nothing spectacular and at best, I would say the band stayed in their safe zone more than anything else. Safe is fine when you’ve established your sound and have a handle on what you’re comfortable with, by the music on “Unsafe” sounds more like, the band was trying to follow a template and simply filled in the blanks with each song. There really isn’t much that stands out on the album, which fails to create a memorable experience. There are a few bright spots however. Songs like “Bad to the Bone” and “Heroin” show the potential their groove influenced sound could have offered, while “Help” is probably their best offering of variation on the album with a little grungier, hard rock vibe to it. Other than a few passable songs, I can’t say this album has much redeeming value.

Highlights: “Bad to the Bone” “Heroin” “Help”

Rating: 2

The Korea: Chariots of the Gods

The Korea play a melodic style of Djent that is executed rather well. The time shifts, distorted guitars, drums, they all fit the bill in the sound department. The Vocalist (not sure exactly his name) has excellent harsh vocals, but his cleans are absolutely beautiful. That being said, despite reading a number of positive reviews, I found this album to be a bit on the bland side. Maybe it's my lack of affinity toward Djent as a whole,(not that I dislike the genre, far from it) but most of the songs here seem to blend together and song too similar. When it comes to Djent, for non-aficionados, an album can quickly song like one long song, which I felt this album suffered from, but I can't knock their musical ability or how they executed their artist style on this album. I think Djent fans would get a kick out of this.

Highlights: "Ватерлиния (Waterline)" "Зомби (Zombie)"

Rating: 2

Spineshank: Anger Denial Acceptance

When Spineshank split up after "Self Destructive Pattern" I was bummed. When Johnny Santos formed Silent Civilian, I was sure that meant the end of the band. Now, Silent Civilian's "Rebirth of the Temple" is, in my opinion, one of the greatest metalcore albums of all time. However, it was not Spineshank, even though their two releases would tide me over. Now, for years, rumors of the band's reunion had floated around the internet to no avail. But, when Silent Civilian seemingly went of Hiatus after their 2010 release, those rumors gained momentum. Eventually the news came out that Spineshank had indeed reformed and were planning on releasing a new album. It had been nine years since "Self Destructive Pattern" and twelve since "The Height of Callousness". To say this new album was highly anticipated among Spineshank fans is an understatement. After disbanding after arguably their most successful album, fans wondered what could have been during that span. In 2012, "Anger Denial Acceptance" was released and I like most Spinshank fans picked it up immediately.

It's funny and sad how the anticipation of waiting for something you expect to be great can be better than the actual product. Like a kid waiting all year for Christmas to arrive after dropping hint after hint of a particular toy, only to open up a hand knitted sweater. This long awaited album was my knitted sweater. Look, the music on this album isn't by any means a horrible mess that should be burnt to dust, but it's not Spineshank. After nine years of waiting, this sounds like the band got together a few months prior, jammed out in a basement and settled on a handful of tracks they could slap their name onto. This album fails to capture any of the sounds from either of their three previous releases. No anger, no ferocity, no progressiveness, no industrial overtones. It's more of an angry rock album than it is Nu-metal. I was hoping this wouldn't just be a rehash of Silent Civilian, but I would have taken a carbon copy of that over this album. Disappointing to say the least. There are a few songs however, that are catchy and exhibit a flicker of their days of old, but this is one of those albums that each new song has you wondering "how many more tracks are left?" Not in a "I don't want it to end way" mind you, but rather a "is this a new song or is it on repeat".

I'll be totally honest, this is a biased review, so I'm willing to hear another take on it, but it would take a lot for me to consider this anything resembling the Spineshank of old. I think the disappointment is worse than the actual music, so give it at least a listen if you're not familiar with the band. I don't know, you might like this. Fans of Spineshank, think of this as "Dumb and Dumber To" or "Anchorman 2": just stick with the tried and true sound.

Rating: 2

Fear Factory: Concrete

Before being known to the world as, Fear Factory, the band briefly followed the moniker of Ulceration. Now, the story goes, the band wasn't happy with the record deal they had in place and decided to part ways with their producer. Years later, after the band would split up, certain contract obligations called for the band to meet their required number of releases and since the rights to the album belonged to Ross Robinson (the original producer), "Concrete was released in 2002 in lieu of an original album.

"Concrete" is essentially, the original songs the band recorded under the name of Ulceration, songs that would be re-recorded and appear on "Soul of a New Machine". The "album" as it is perceived, is little more than a complication of original recordings and bonus tracks. Of the 16 tracks, 9 are the original versions of what you hear on "Soul of a New Maine", while a few others were either bonus tracks that found their way onto future re-releases and a couple unreleased tracks.

“Concrete” may serve as a history of the band, but other than simple curiosity, the album offers little in the way of anything interesting to new, but especially to long time fear Factory fans. Robinson's ideas on how the original tracks should have sounded were widely despised by fans of the "Soul of a New Machine" recordings (as well as two original tracks slated for "Demanufacture".) The sound, for the most part, is on par with what a demo would sound like. The instruments sound distant, the vocals are even rougher than they sounded on "Soul of a New Machine" and ultimate, sound like an incomplete product. The couple bonus tracks that appeared on "Obsolete" are nothing new (given they are on the digipak of said album) and the few unreleased recordings were unreleased for a reason. They suffer the same flaws as the other Robinson tracks and offer little to even die hard Fear Factory fans.

All in all, this may have been the album Ulceration was slated to release years ago, but after one listen to "Concrete" and you’ll understand why the band decided to head in a different direction from the one they were traveling. This release is the definition of meeting the record labels requirements, as it offers little more than a glimpse of what might have been, but thankfully never was.

Concrete Notes

Rating: 2

Fear Factory: Remanufacture

After 1995's "Demanufacture" the band would, once again, decide to take tracks from their latest release and remix them with yet another heft does of techno and electronic sounds to alter their genetic makeup. The result is the compilation album "Remanufacture" This compilation offers more than just a handful of songs "Fear is the Mindkiller" delivered as it is, for the most part the majority of the songs from "Demanufacture" just in a more techno light. (Hence the name “Remanufacture”)

To my ear the techno vibe is just as present as their 1993 EP, but the overall sound is a little more complete. Whereas "Fear is the Mindkiller" worked only with bits and pieces of the vocals from the original tracks, "Remanufacture" sees the remixed songs maintain a large majority of their original makeup, including the vocals and then adds the techno twist.

Once again, Ryhs Fulber works his programming and electronic magic to make this techno compilation possible, showing how vital his industrial touch is to the band’s overall sound and identity.

As a whole, I enjoyed "Remanufacture" more than I did "Fear is the Mindkiller" largely due to the fact that, despite being techno remixes, the original source of each song is still very identifiable. That being said, once again, unless you’re a techno fan or a die heard Fear Factory fan, this album may not be your cup of tea.

Rating: 2

Fear Factory: Fear is the Mindkiller

After the release of “Soul of a New Machine”, Fear Factory would put out “Fear is the Mindkiller”, an EP containing three songs from their debut album, but with a twist. The songs were essentially deconstructed, remixed, (“Self Immolation” multiple times) and add multiple electronic sounds to create a techno version of their former selves. Having said that, the songs still contain their original atmosphere and familiar sound in that although each song is completely remixed, you are still able to clearly identify which song it is that has been altered.  Much of the original lyrics have been shaved off to pave way for the techno atmosphere, but the vocals that do remain, still give the give off the industrial vibe of their original format.

I’ve always recognized techno and industrial as the separate genres they are, but respect the fact that there is some overlap in their sound and backgrounds. That being said, I’m not totally shocked that Fear Factory would put forth a heavily techno oriented remixes, but ultimately, the overall result was not exactly my cup of tea. I respect that the band explored their musical interests and also respect the fact that they kept this material on a separate release. I’m also glad, to no offense to techno fans, that this would not carry over onto their next album and onward, although they would dabble in the techno genre in the near future, but that’s another review. It’s an interesting release nonetheless, but unless you’re a diehard Fear Factory fan or a techno fan, this may not be up your alley.

I would also like to note that, this was the introduction of Rhys Fulber, whom in my opinion, would serve as an unofficial member of the band from this release onward. His skills on programming, sound effects and keyboards have added many layers of depth to the band’s sound over the years. A very under the radar member of the band, but no less important. 

Rating: 2

Waco Jesus: Filth

Note: this is not the original art work. I decided to use another picture from the CD booklet instead. You can search online to see why. Anyway, Waco Jesus play a blend of brutal death metal with elements of grindcore. Blast beats galore, chugging riffs and harsh vocals. Overall, nothing you haven't heard already. Not terrible sounding, just nothing that makes me want to play this CD again. A few decent tracks. There's already enough bands out there that do it better, so unless your're into the scat stuff, stick to Prostitute Disfigurement or Anal Blast. For brutal and grindcore die-hards only.

Highlights: "The Consequence of Your Ignorance"

Rating: 2

Judas Priest: Rocka Rolla

The Album that began a 35 year long career that is still going strong. "Rocka Rolla" was release in the birthing years of heavy metal. At that time, aside from Sabbath, 70's rock was still the dominate force, while many were beginning to flirt with a heavier side of things, the rock aspect of the equation was still top dog. By this time, Black Sabbath had already released six albums (Sabotage in the same year, but prior to priest) and their influence was already beginning to be noticed on other bands. It's easy to hear the Sabbath effect on "Rocka Rolla". The sound is bluesy in tone and reminds me of what many stoner bands would adapt to 20+ years later. This is a 70's rock album to the core and that's not a bad thing, it's just this is a far cry from what Priest would morph into soon after. You have to start somewhere, and "Rocka Rolla" is a nice piece of 70's rock, but for what most people are looking for, this isn't what you'll be expecting. I'd give it a listen for historical value.

Highlights: "One for the Road"  "Rocka Rolla"

Rating: 2