Khonsu: The Xun Protectorate

If you want a glimpse of a twisted, eerie future, then Khonsu’s “The Xun Protectorate” just may very well offer that vison. I first read a review about “The Xun Protectorate” back in 2016, but never actually got around to listening to the album until just recently. I had an idea of what to expect when the album began, but to hear what you’ve read can never really prepare you for the real thing.

Steffen Grønbech, who assumes all instrumental and the majority of vocal duties on the album, does a wonderful job of creating a futuristic sound of terror, while maintaining a subtly of tranquility through the use of his rhythms and harmonies created throughout the album. He wastes no time introducing you to Khonsu’s blend of styles by unleashing the opening track (after the intro) “The Jhator Ascension” on their listeners. The song begins with a short intro of pummeling drums that quickly transition into an explosion of catchy guitar riffs. The heavy use of synths and blasting drums join in as the evil vocals are cued and the sounds begin to harmonize, painting a dreary picture of what the rest of the album will offer.

Terje Olsen handles the clean vocals and shouldn’t be left out of the conversation, as his sound helps balance the sound between peace and chaos. This balancing act is present on “Death of the Timekeeper” The electronic dissonance along with the pounding drums and terrifying vocals create a bleak atmosphere, but the clean vocals come in serve as an equalizer. Of course, songs like “Visions of Nehaya” are just a straight forward, blackened death metal attack.

If you’re looking for a nice mixture of industrial and blackened death metal, “The Xun Protectorate” should be right up your alley. I enjoyed this album and was impressed that a band that I had never heard of was able to put together such a blend of sounds and atmospheres to create the sound for their futuristic, horror styled theme. There’s really not much to point out to bring this album down in the sense of glaring problems. However, I don’t think this album is a masterpiece that some had made it seem, but it is a very good album overall.

Highlights: "A Jhator Ascension" "Death of the Timekeeper" "Visions of Nehaya"

Rating: 4

Killing Joke: Killing Joke (2003)

Certainly one of the major influences of all industrial rock and metal alike, Killing Joke has had a long and successful career. They were one of the major influences in my favorite band of all time, Fear Factory, which is what lead me to listen to this particular album. Some might call this pseudo-metal, as there are certainly more elements of industrial rock on display here, but it's a hard hitting album nonetheless. There are some tracks that are more love them or leave them, but others songs like "Asteroid" or "Implant" dial up a nice punch of metal inspiring head banging. Although this release was well into Killing Joke's career, I can easily see the affect they had on bands such as Fear Factory, Nine Inch Nails and even Ministry.

Highlights: "Total Invasion", "Asteroid", "Implant"

Rating: 3

Fear Factory: Genexus

After Fear Factory made their second comeback with a very successful “Mechanize”, they followed the album with “The Industrialist”. Now, for the most part, “The Industrialist” scored well enough with fans and critics alike given that it sounded like “Mechanize” 2.0, which was not a bad thing mind you. With two albums under their belt since reforming, fans were excited to see that the band was preparing new material for what would be their 9th album (not including "Concrete") titled “Genexus” which released in August 2015.

When “Mechanize” was released, we saw the band revisit the sounds and formula of Fear Factory’s past. You could hear bits and pieces of just about every major release through the album, which was a nice way to kick off their comeback. Subsequently, “The Industrialist” followed suit, only rather the album seemed to stick to a tried and true formula that was more safe than anything else. That being said, with two albums playing true to the band’s roots, the band would decide that it was time to take the next step and put out an album that would not only retain the classic Fear Factory formula, but also reach new heights. “Genexus” is exactly what the band had in mind.

If Fear Factory was going to add a new layer to their sound, they were going to have to make some changes to their current formula and the state of their lineup. The first order of business was to go out and get a new drummer, which they did by bringing on Mike Heller from the brutal death metal outfit, Malignancy. Previously, “The Industrialist” saw a two-man act of Dino and Burton handling all the instruments, which required the drums to be programmed and while they were executed well enough, the human aspect was sorely missing. The other change that is not as widely recognized was the fact that, for the first time in his singing career, Burton decided to seek out help from a vocal coach to help him with a few issues he felt he was experiencing. As such, he began incorporating warm up exercises before live shows and recordings, which would ultimate allow him to overcome those concerning issues. It showed a new level of devotion towards creating the best music possible and it would pay off in dividends. With a new drummer and a new sense of dedication to their music, Fear Factory was preparing to put everything they had into “Genexus”, but intent is one thing, execution is another.

As for the execution of the music, I will say, confidently that “Genexus” is easily their most complete and sincere album since “Demanufacture”. I’m not saying that it is better than “Obsolete” or “Archetype” (which could easily be debated, but not now). What I’m saying is, when the band changed from a quasi-industrial death metal act into the cyber metal powerhouse we heard on “Demanufacture” it required a great deal of change, commitment and execution. That is exactly what has happened from the transition of “Mechanize” (and “The Industrialist”) into “Genexus”. You can hear how much time, effort and dedication they put into this album with each passing song. The emotion in the vocals, the energy put forth in each of the instruments, even the crew behind the scenes in the programming and electronics department put in a great deal of time and focus to create the fresh and genuine sound on “Genexus”.  What we have here is not so much an album staying true to its roots, but an album that took everything in its 25-year history and combined all those elements into a showing of wisdom and mastery. It’s one thing to simply utilize elements from previous albums, but it’s another to take those elements and make them into something both familiar and unique.

Since beginning his consultations with the vocal coaches, Burton’s vocals have been elevated to new heights. Now, not everyone can sound the same at age 45 as they did when they were 20 (Although Rob Halford sounds pretty good for nearly 70), but Bell’s voice on “Genexus” reminds me more of his early “Demanufacture” and “Obsolete” days more than any other album. His harsh vocals are so much more prominent and sharp, more so than either of the two previous releases. He delivers more midrange vocals, which serve as a nice build up to his majestic cleans. The cleans on “Genexus” are some of the best he’s ever sung. They are high, clear and compelling on many of the songs that leave you simply in awe. The ending of “Regenerate” nearly brought tears to my eyes, as his soaring vocals left me completely floored. It’s impressive to actually hear the payoff of all the dedication Bell put into enhancing his voice after all these years.

With Dino on guitars, we know we’re in for some crunchy, groovy, chugging riffs. However, with the sense of a fresh sound, even Dino understood that just simply going back to the well would not be good enough. Yes, we still have those crushing riffs, but their sound on “Genexus” sounds almost as if Dino’s writing had been rejuvenated, as we haven’t heard such mechanical, cybernetic and pulsating riffs since “Demanufacture”. The power and energy on the guitars are far more intense than “Mechanize” and they actually add more rhythm than normal. Dino also mans the bass once again, which is nothing new, but with his renewed sense of guitar work, he would have to ensure that the bass did not lull into the background either. Now, I’ll say that the bass is not as front and center as it was on “Archetype” or “Transgression” for that matter, but the atmosphere on “Genexus” really doesn’t require an in your face bass. That’s not to say you don’t notice it, as many times the bass can be heard, bouncing along with the guitars creating a nice harmonizing flow. “Soulhacker” displays a heavy dosage of thick, groovy bass that enhances not only the guitars, but also gives a nice punch to the chorus as well.

With Mike Heller on board, the human element lacking from “The Industrial” had returned. Now, I had heard a few Malignancy albums in the past, but they were before Heller’s tenure with the band, so I wasn’t sure of his capabilities. I figured if Dino and Burton were serious about injecting new life into the band and “Genexus” they would do their homework and find the right drummer to fill the void. My concerns were put to rest as Heller displays not only that he can handle the drums required to carry the Fear Factory sound, but provides more on “Genexus”. The song writing really comes through on the drums as you, can hear portions of the bands entire discography throughout the album. The power, speed, depth, tempo and intensity of each track takes elements as far back as “Soul of a New Machine” up to “Mechanize” and are combined to create the monstrous sound we hear on “Genexus”. Aside from their concussive force, the drums, as usual serve as a key component in creating the rhythms and directional force of the album and when they gel together with Dino’s guitar and bass, they form a wonderful harmony.

I mentioned that everyone involved with “Genexus” stepped their game up a notch and that held true to those in the programming and additional crew department. Most notably, Rhys Fulber, who adds his dystopian enhancements to every aspect of the album. From Burton’s vocals, to Dino’s guitars and Heller’s drums, Fulber’s touch can be heard consistently throughout “Genexus” proving why I’ve always considered his addition to be the “12^th” man of the band. His magic behind the scenes is simply irreplaceable and I truly believe without his inclusion, the band would have never attained the sound they have accomplished.

“Genexus” was slated to be a step in the direction of a new future for Fear Factory. With the amount of preparation, dedication and emotion the band put into the making of this album, it’s no surprise that “Genexus” in my opinion, one of the best albums in Fear Factory’s long and celebrated catalog. With high expectations, the band exceeded those expectations and went above and beyond anything that fans were prepared for. This album is a testament to what can be accomplished when creative minds put their heads together, and put forth a massive amount of effort, while puting one’s heart and soul into an album. “Genexus” is simply a display of superb songwriting, excellent musicianship and the culmination of years of experience and maturity put onto an album. If this is the future of Fear Factory, the future is indeed bright my friends.

(Be sure to check out the digipak which contains two interesting tracks; "Mandatory Sacrifice" (Genexus Remix) and "Enhanced Reality")

Highlights: "Anodized" "Dielectric" "Protomech" "Regenerate"

Rating: 5

Fear Factory: The Industrialist

2010’s “Mechanize” was a resounding success to both fans and critics alike and marked the beginning of the third era of Fear Factory. After two years of touring and songwriting, the band would put together the follow up in the form of “The Industrialist”. Now, when “Transgression” was released, fans were at worst, hoping it to be “Archetype” 2.0, but were disappointed with the industrial rock experiment they received. If I had to sum of the comparison to the bands second comeback album “Mechanize” to their follow up “The Industrialist” I would say that it is, more or less, Mechanize” 2.0.

Let’s be clear. When I say 2.0, I don’t simply mean that the songs on “The Industrialist” sound exactly the same as they did on “Mechanize”. The similarities lie in the song structure and overall atmosphere that the albums share. Yes, one could argue that many of the songs could easily be interchangeable from album to album, but for fans of either album I ask; is that a bad thing? One might say that many 80’s thrash or melodic death metal share so many similarities within their own catalog that the same interchangeable aspects could be applied, but we all know that Slayer and Megadeth create individual albums despite sharing similar traits from album to album.

Perhaps the biggest reason for attaining the 2.0 label, in my opinion would have to be the fact that Fear Factory were now a two-man operation. That’s right, this album (main players that is) features only Burton and Dino. Dino, once again handles the bass and guitar duties and Bell on vocals, which left one question? Who’s on Drums? Well, the answer would be no one technically, as the drums on this album would be programmed, but we’ll get into that soon enough.

“The Industrialist” is a prime example of following a working formula. I’m reminded of Powerwolf in that, you know the formula of Powerwolf if you’re a fan and if you are indeed a fan, knowing they follow a formula isn’t a problem.  The music on “The Industrialist” simply follows the successful formula we saw on “Mechanize”. Burton’s vocals continue to flourish with his harsh and clean combination. They are just as powerful and crisp as they were on the previous album and can easily hook the listener. Dino’s guitars chug along, creating groove laden riffs and leads that are both energetic and mechanical in nature. The bass is thick and bouncy, which lends a nice punch when harmonizing with the other instruments. The song structures are also very formulaic. Songs follow a harsh and intense set of vocal leads, which build into catchy and clean choruses that leave a lasting impression. The drums pound away, creating a wall of sound and rhythm that lend but to the intensity of the album, but also help deliver the force of each track. Finally, Rhys Fulber and company once again, add the programming, keyboards and industrial touches that have always been the band’s shtick.  As I said, everything fits the components of the formula and they fit rather nicely.

Now, I mentioned the drumming and how on this album they would be programmed. To start, I have heard a number of one-man death and black metal bands employ the use of a programmed drum machine and while sometimes it’s so obvious that it becomes almost a hindrance, other times it can sound seamless. Given Fear Factory’s history of electronics and programming, I was more than confident that they would be able to handle the task of programming the drums to meet their needs. I for one prefer a human on the drums, but in a pinch, programming can get the job done. The result on “The Industrialist” is a powerful sounding experience, but comes off as soulless. It’s not completely obvious, but once you hear them, you’ll notice the human touch is missing. Although it doesn’t take away from the drum’s effect, it certainly doesn’t add the human magic that Herrera or Hoglan added either.  For one album (as Mike Heller would join shortly after the album’s release) the programming here is acceptable.

Compared to the follow up of Fear Factory’s initial comeback release (“Transgression”), “The Industrialist” is head and shoulders above said album. Perhaps the band rested upon the cyber metal formula a little too heavily on this album, but by this point in the game, they know the style of music they play, they’re comfortable playing it and have figured out how to recreate that sound. Again, it works for bands like Powerwolf (whom I love) who has had excellent success and the formula works just as well here.

Highlights: “The Industrialist” “Recharger” “New Messiah”

Rating: 4.5

Fear Factory: Mechanize

The bitter taste that was left in most people’s mouth after 2005’s “Transgression” was more than palpable within the metal community. After such a strong comeback with 2004’s “Archetype” most were left shaking their heads with the follow up. Many thought that, perhaps, the band might put their collective minds together and produce an album to redeem themselves, but sadly, that was not the case. Shortly after the release of “Transgression” the band announced they were going on a hiatus to work on various side gigs and projects the members had their hands in. Herrera and Wolbers created a band called Arkaea, and Bell began recording tracks in a number of side projects/guest appearances, which only furthered the hiatus.  By 2008, most thought that the band had officially split up as, other than rumors, there was not much in the way of hope for fans.

However, in 2009, an article stated that the band would indeed be getting back together and would feature both Bell and Dino. Apparently, the two had put aside their differences and reunited, but due to internal disputes (no details in this review) both Herrera and Wolbers would not be returning. On one hand, the notion of Fear Factory reuniting again was big news and even more so that Dino was back. On the other, losing Wolbers and Herrera lead to some concerns. Byron Stroud was slated to return on bass, which was reassuring, but that left the void of the drums, an aspect of the band’s sound that simply cannot be overlooked. Well, in a good PR move, the band made a special announcement that the drums would be fronted by none other than the legend, Gene Hoglan (Death, Death Angel and Dark Angel). The loss of Herrera was tough, but if you’re going to replace someone on his level than it better be with someone that will be able to fill those shoes and with Hoglan’s announcement, fans’ worries were put to ease.

Now, for a successful second comeback, “Mechanize” would need to have the same impact “Archetype” had after the band’s initial split, but would also have to capture the cyber metal power and aggression from the days of old. I’m sure if this was nothing more than “Archetype” 2.0 people might not be too upset, but with Dino and Burton back together along with Hoglan on board, fans wanted a fresh sound with the classic elements up front and center, not a rehash. Fortunately, “Mechanize” would have the comeback power of “Archetype”, while capturing elements of their work on both “Demanufacture” and “Obsolete”.

Right from the get go, “Mechanize” starts off with the titular track, harnessing the aggressive nature we heard with “Cyberwaste”. It’s pulsating, fierce and exudes with anger and violence. “Industrial Discipline” carries the classic harsh leads and clean vocals fear factory built their name on since “Demanufacture”. The classic cyber metal formula of harsh and clean vocals, chugging riffs and breakneck drums are all present, from start to finish. The industrial sound is only enhanced by each of the instrumentation, playing with rhythm and harmony that not only function like a machine, but at times, give off a machine like sound.

Bell’s vocals are back in full effect. His harsh vocals sound much more crisp and to the point, even more so than they were on “Archetype”. His cleans are as euphoric as normal, only with the hint of programming, they give them an extra machine like touch that help create pleasant choruses and memorable notes. Unlike “Transgression” Bell unloads his pent up aggression upon the listener and those who waited patiently for another punishing display of vocal ferocity, you won’t be disappointed with “Mechanize”. I gave a special nod to the track “Echo of My Scream” on “Transgression”, which put Bell’s vocals in a more emotional spotlight. “Final Exit” has that same feel to its makeup and when you listen to it, you truly feel the emotion in Bell’s voice. It’s a welcome addition to mark an end of such an intense album.

With Dino back on guitars for the first time since. “Digimortal” fans immediately could hear the bouncy grooves that Dino had created since the days of “Soul of a New Machine.” The crunchy riffs carry the machine like nature that is undeniably, Dino. This sound had been missing from both “Archetype” and “transgression” and although the former did not suffer from as much, the latter did not fare well. In any case, the powerful leads have returned to help shape the skeleton of the bands structure. Of course, there isn’t much in the way of solos, which is nothing new, but at times there are passages that create an almost solo experience, but instead of stepping into the spotlight, they accentuate the overall mood and compliment the sound, rather than stand out. In any case, his guitar work is a welcome addition to the comeback.

Byron Stroud’s work on “Transgression” was one of the few shining points the album had to offer instrumentation wise. With a lack of solos or much in the way of guitar fills, the bass, drums and guitars play as a cohesive unit in order to create a homogenized rhythm section, which requires each instrument to carries its own weight.  This is more than accomplished by Stroud as his thick and reverberated chords both stand out when they need to, but also harmonizes nicely to form the team effort on rhythms.

Gene Hoglan needs no introduction. The man is a legend in the metal community. As I said, learning the Herrera would be absent from “Mechanize” made me worry, but as soon as I heard Hoglan would be filling in, I knew there was nothing to worry about. The drums have always been the pulse of Fear Factory. They have always driven the songs forward, added to the rhythms that the guitars lack and created a mechanical power that gave their sound a distinction of industrial nature. Hoglan understood this concept and set out to not only stay true to the mantra the drums held in Fear Factory’s past, but also added his only fierce and emetic touch. The result; a rapid fire displays of blast, beast, bass kicks and cymbal crashes, but they are played with such fluidity and skill that they are not merely a mash up of sound and loud noises. Hoglan uses a variety of tempos and rhythms that allow him to create an ebb and flow rhythmic base that anchors the sound of “Mechanize” while also playing together nicely with Dino and Stroud.

Of course, Rhys Fulber is back for more key programming and electronic touches that have given the band so much of its industrial identity, I don’t;’ think they would not have had the success they have had without him. Sometimes the smallest additions can have big impacts and with Fulber, it shows.

Fear Factory’s second come back was just as successful and served as just as much of a fresh breath of air as “Archetype”. Although the atmospheres of each album are respectively both unique and on par with the style the band plays, “Mechanize” seems to drive home the intensity a little more, straight forward. Once again, the worries of fans would be put to rest and this time, the band seems to be back for good.

Highlights: “Mechanize” "Industrial Discipline" "Powershifter" "Final Exit"

Rating: 4.5

Fear Factory: Transgression

After the widely successful comeback of 2004’s “Archetype”, Fear Factory immediately began working on material for a follow up album. With “Archetype” in the books and “Digimortal” in the rearview mirror, fans were eager to hear what would follow after such a strong showing. As information began to circulate about the ideas and concepts on this, at the time, untitled album, fans began to note the word experiment being used more often than not, which left them unsure of what to expect. Experimentation can be a double-edged sword in the music industry. On one hand, it can open sounds and ideas for a band to create a successful change of sound and experience. On the other hand, it can lead to a mash up of ill-gotten and mismanaged components that can leave a bad taste in the mouth of critics and fans alike. Given that Fear Factory had just reformed and had begun touring, one couldn’t help but feel a little uneasy about an experimental album dropping after having reformed a year or so prior. In August of 2005, 16 months after “Archetype”, “Transgression” hit the shelves.

Now, much like “Digimortal”, I’m going to review this album from both a guy who listens to metal and a fan boy of Fear Factory.

So, where do we begin? Well, for starters, “Transgression” is what I would call experimental in that, it plays more to the tune of a heavier hard rock album with touches of industrial rock, and just a splash of heavy metal. For fans expecting the cyber metal assault they had just experienced on “Archetype” would be nowhere to be found. In fact, other than perhaps elements of “Digimortal”, this album hardly resembles much of any of their previous works other than the underlying industrial atmosphere and a few songs that retain their cyber metal roots. 

As I said, the sound on “Transgression” is more or less a very tamed sounding industrial rock. Right from the get go, the opening track “540,000° Fahrenheit” begins with a very simplified guitar lead, that builds into the chorus giving off an almost progressive vibe, but the payoff lacks usual lasting power Fear Factory general delivers in such situations. The same formula carries over into the next track “Transgression” and pretty much follows suit until the final song (on the non-enhanced album) “Movement of impact’. This is the only song I would say is a true, industrial heavy metal song in vain of the sound of Fear Factory had been playing up to this point.

On “Archetype” Dino had left the band and Christian Olde Wolbers assumed the role of guitar duties. He exceeded many expectations and left people satisfied that he was more than capable of continuing onward as the band began their second stint. I remember having some serious doubts when I learned Wolbers was taking over for Dino. My biggest concern was that the guitars would become stale, dumbed down and lose their impact they normally had on the band’s music, but I was pleasantly happy to be wrong. That being said, those concerns would ultimately and unfortunately become a reality, only on the follow up to “Archetype”. The guitars here do not resemble any of the impactful, power or crunchy riffs heard previously and in fact, they lack much depth for even a simple industrial rock sound. The guitars are honestly barely noticeable and rarely leave an imprint on the songs if any at all.

I will say that, the drums are, as always, on point with Raymond Herrera playing. They may not be as bombastic and soul crushing as they usually are, but they provide the majority of rhythms and beats while offering some of the few metal moments on the album. The bass, which is now handled by Strapping Young Lad’s, Byron Stroud, actually has much more of an impact that the guitars. The sound is thick and groovy and is generally in the foreground of the songs, which provides some additional rhythm with the drums. They are featured more so because the guitars were left out, so some form of guitar had to step up to the plate and handle something in the way of leads. Burton C. Bell’s vocals have always been a favorite of mine. Unfortunately, his trademark style of harsh and clean vocals is for the most part absent from “Transgression” and instead we receive a heavy dosage of soft, mellow tones. We are treated with an occasional shout and hoarse passage that tries to convey some hostility, but generally comes up short. That lack of his aggressive style combined with his high choruses were sorely missed on the album.

All in all, this album failed to meet the expectations that not only Fear Factory fans had hoped, but left a sour taste in metal enthusiast alike. Experimentation is one thing, especially if you want to throw in a few songs with that mindset, but an entire album, especially so soon after reforming, was not the best of ideas. Aside from a few passable tracks, there’s not much of Fear Factory’s DNA to be found.

Okay. Devil’s advocate is finished, Now it’s time for fan boy.

I’ll admit, after my first listen of “Transgression” I was a little disappointed. I mean, with “Archetype” having just been released a year prior, I figured at worse, this would be essentially “Archetype” 2.0. Being a Fear Factory fanatic, I was expecting the groovy and crunching guitars, machine gun drums and Burton’s blend of harsh and clean vocals to inspire visions of industrialist robotic warfare, but, that was obvious not the case and I was left wondering just what kind of album “Transgression” really was? I remember my initial disappointment, as I would image most fans had experienced, but there was a part of me that couldn’t give up on the band and had to try and unravel the mystery of this out of place album.

Now, as most know, my love for Burton’s vocals are unwavering. I enjoy everything he’s a part of including Ascension of the Watchers and City of Fire (side bands), so as long as he is singing, I’m going to find some enjoyment on that album. Knowing this the second time around, I dove back into the album and began to focus on the one element I knew I could find the most positive out of and that’s exactly how I began to digest the album. Granted that Bell’s harsh vocals are used sparingly, he does employ more midrange and mellow sound in their place. “540,000° Fahrenheit” shows off this midrange lead, which builds into a beautiful and soaring chorus of his high cleans. On the titular track, we do hear him use a slightly harsher tone of voice that once again, leads to a clean chorus. This pretty much continues for the majority of the record, but there is one particularly song that stands out. “Echo of My Scream” might be considered a ballad of sorts as it shows Bell singing in an almost acapella format, that drips with emotion and is beautifully executed. Also, I enjoyed their rendition of U2’s “I will Follow” and Killing Joke’s “Millennium”, both bands who are influences on Fear Factory.

To this day, the guitars of “Transgression” are in my opinion the worst showing Fear Factory has put forth. I’ve always defended them by pointing out that they do not use the guitars to create as much atmosphere as most bands, but rather use them to enhance the mechanical vibe of the albums, provide a steady and catchy lead, while harmonize with the other instruments. Those characteristics are simply not found on “Transgression” and while still disappointed, I eventually began to overlook the lack of guitars and focus more on Bell’s vocals. I mean, the guitars are still present, and provide a simple Nu metal riff for most songs, but I can’t give them too much praise other than their production is at least crisp and audible.

So my question remained: “What kind of album is “Transgression”? Well, I’d have to say that yes, this was an attempt to experiment with sounds of industrial rock, Nu metal, radio rock, with just a hint of heavy metal. At first it was hard to digest, but once I began to follow the lines that went outside of the box, I found much to enjoy. I find that for one to enjoy this experiment, you’ll need to keep an open mind. If you love Bells’ clean vocals over a backdrop of dark, and brooding atmospheres with a twinge of electronic edge (thank you Rhys Fulber), I think you’ll be able to appreciate this album for the curveball it is. It’s simplistic nature in both vocals and instrumentation may be looked upon as weak, but I view it as deceptively simple. The deception lies in the notion that, there are many elements to be enjoyed on “Transgression”, but like a good riddle, one will first need to unravel its mystery before they can begin to do so.  Also, there are bonus tracks available (“Empire” & “My Grave”) both which are pretty solid tracks that fit the sound of this album nicely.

Much like “Digimortal” I would give this a higher rating simply due to my fanybosim, but I cannot overlook the flaws to which the album contains so my score will reflect a middle of the road agreement of my two overviews.

Highlights: “540,000° Fahrenheit” “Echo of My Scream” “Spinal Compression”

Rating: 3.5

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

Fear Factory: Hatefiles

Shortly after 2002’s album “Concrete”, which was to appease Roadrunner Records’ album number requirement the band had agreed upon, another such release would follow in the form of a compilation known as, “Hatefiles”. Now, the major difference between the two obligatory releases is that “Concrete” was essentially the songs that appeared on “Soul of a New Machine”, but the unfiltered versions of those songs recorded under the “Ulceration” banner. That, along with a few other demos and a couple unrealized tracks made “Concerete” more of a compilation of demos and rough recordings as opposed to an album. “Hatefiles” on the other hand, is a straight compilation, composed of unreleased and remixed tracks.

To those unfamiliar, Fear Factory has hand a hand in movie soundtracks as well as video game soundtracks, some of which I had never heard or realized until the release of “Hatefiles”. The first four tracks are from the video game world, "Terminator: Dawn of Fate", “Frequency” and “Demolition Racer” to be exact, none of which I played in the past. They are solid tracks, that perhaps do not sound like they could be a part of any particular Fear Factory album, they do however, carry they  Fear Factory sound. The songs' industrial nature and thick, groovy atmosphere make these songs a welcome addition fan any Fear Factory fan.

The next two are radio edits of previous songs "Invisible Wounds (Dark Bodies)"and “Resurrection”. Now, “Resurrection” has a nice change up to its sound, retaining its core, but is more condensed and shortened to give more impact.  but the edit of "Invisible Wounds (Dark Bodies) the Suture Remix” is one of my favorite Fear Factory songs of all time. I enjoyed the original version on Digimortal, but remix has some much more emotion and spunk to its sound that I always learn toward it before the original. The song was also featured on the Resident Evil Soundtrack.

The rest of the tracks are techno versions of previous songs similar to “Fear is the Mindkiller” or “Remanufacture”, a demo and a live track. Of the entire collection, I found the video game tracks, the radio edits and the lone demo ("Dark Bodies") to be the most interesting. The techno remixes are saturated with heavy dosages of electronic and synthesizers that give the original recordings a bouncy and dance club vibe to them, so fans of such should find a little goodness here as well.

Rating: 2.5

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: Digimortal

By 2001, the Nu metal phenomenon was in full effect and had gained a strangle hold on the music world. Every radio station and music video show on television was dominated with their brand of pseudo metal that, whether you love it or hate it, had its effect on the metal community. Even the likes of the Big Four of thrash all had their hands in the Nu metal scene at one point or another. Now, for

some bands, incorporating elements of the Nu metal sound was a complete 180 to their sound and as such, came as a shock to their fan base. Others, the transition was less of a hassle. One such band that also jumped on the bandwagon was Fear Factory with their release of “Digimortal” and although their entry into the Nu metal arena may not have been accepted with open arms, the final result was not a drastic change from many of the elements the band already played.

Now, I’m going to view “Digimortal” through the eyes of both a fan of the band and a guy reviewing an album. From the eyes of a non-biased fan, I will say that, the sound on “Digimortal” is very simplistic in both execution and talent. That was, essentially one of the staples of the Nu metal movement:  focus less on music and more or attitude and emotion. It required a very monotonous and uncomplicated guitar sound, C-rate drumming and often dabbled into the realm of hip hop. All of which will be present on “Digimortal” To be fair, the basic industrial and electronic sounds that the band have always used were still present, but they come through more like a low fat version of Fear Factory.

As I said, musically, the sound is rather bland. The guitars riffs are even more simplified than their usual selves, the drumming is far from the powerful wall of sound it should be and the bass, although present, is not as harmonious as it was on “Obsolete”. The industrial elements that are on display don't add as much to the atmosphere as much as they did on the band’s previous works. Where then, they helped make up the DNA of the album, here they simply sound as though they were added just for the sake of adding them to keep their industrial tag. The use of turntables on "Edgecrusher" back on "Obsolete" was eye raising, but understanding Wolber's affinity to the sound and being a personal hobby of his, it was acceptable. The rap song "Back the Fuck Up", well, it may feature B-Real, a legendary figure in the hip-hop scene, but the song did not go over well with fans. All in all, a miss compared to the previous two releases, but by no means a complete bomb.

Okay, now that I gave the album the devils’ advocate treatment, it’s time to view the album as a fan. This album can instantly transport me back to 10th grade. Despite the flaws of the album, I loved this release. Songs like "What Will Become", "Damaged" and "Linchpin" would be repeated many times that summer. I loved the simplistic, yet familiar sound Fear Factory offered on "Digimortal" and of course falling in the era that was dominated by Nu-Metal and Metalcore, I was naturally a fan of both.

Burton’s vocals, although not as harsh and violent as normal, are still powerful in their delivery. Their sound, while rooted more in the mold of Nu metal, they are executed well and still offer his trademark harsh and clean vocal tandem, albeit with less aggression. Although solos and in melodic guitar rhythms may not have always been one Fear Factory’s priorities, they once again are absent from “Digimortal” That being said, generally Dino can offset the lack of rhythms and solos by producing memorable and hammering riffs to generate enough hooks and sustainability on most Fear Factory albums. This being Nu metal, he follows the template of the genre and instead of delivering crushing, groove laden riffs, we get a slimmer version of what we herd on “Demanufacture” and “Obsolete”. Are they crushing? Nah. Groovy? Sure. Do they sound like Ne metal? Yeah, which is what I feel they were going for and in the scope of their targeted sound, they nailed it. In a good way mind you. The guitars may not inspire as much imagery as their previous work, but they more than carry both the metal sound, industrial components and Fear Factory’s manta well enough.

As for Herrera’s drums, think of them in the same light as the guitars. They are still clear and crisp with plenty of double bass kicks, but that’s about as far as they go. They do not instill the same ferocity they normally bring to the table and instead play a slimmer version to compliment the Nu metal sound. Perhaps of all the instruments, the drumming would be the most comparable to their previous work as it takes command in the rhythm department for most of the album and drives the majority of the songs forward. Wolbers’ bass may not play as nicely with Dino’s guitars this time around, but they, much like the drums offer a distinctly notable sound on most of the album. It still carries the low sounding punch as before, but no longer blends with all the elements of the album and instead can be heard as more of an individual sound, which showcase’s its ability, but also fails to harmonize into the cohesive Fear Factory sound.

Of course, I can’t forget to mention Rhys Fulber’s work on programming and keys. His minor touches transform many of the songs in a big way. The industrial and technological sound heard throughout “Digimortal” still anchor the band to the industrial genre, which is most notably heard on songs such as “What Will Become” and “No One”.

From a diehard point of view, I'll always rate this album higher than it should be, but that's the beauty of one’s opinion. Nostalgia aside, I was a fan of many Nu metal bands during their time, do Fear Factory’s efforts in the Nu metal genre was always going to go over well with me, so I have no complaints. Sure, this is far from a masterpiece, but it’s still a solid effort and most important of all, it’s memorable. The digipak also offers a few excellent songs such as "Strain vs. Resistance", which I recommend getting if you're planning on giving this album a listen.

Highlights: "What Will Become", "Damaged", "No One," "Linchpin"

Rating: 3.5 (Biased. 2.5 otherwise)

Fear Factory: Obsolete

It was the summer before entering high school and by that time, I had been jamming out to a stable mostly fixed of Pantera, Overkill, Metallica, but I was beginning to yearn for more metal. As fate would have it, my older brother would offer me a CD that he said he didn’t enjoy, but knowing I loved metal as much as I did, thought I might. The album in question was Fear Factory’s 1998 release, “Obsolete”.

I remember staring at the cover of the album, not knowing what to expect, but I was intrigued. I had never heard of the band before that point, so whatever I would hear on this album would have to serve as the focal point of my perception of the band. After my first listen, I was introduced to a new and invigorating sound that hooked me from the get go. Now, of course, at that time, the metal world was being turned upside down with the Nu metal movement beginning to take over the mainstream airwaves and while I was aware of such bands, I had yet to experience much of said craze. The same could be said for any type of industrial metal as well, so I would essentially be listening to an album with both Nu metal and industrial elements for the first time. “Obsolete” would open my eyes to a world beyond the thrash and American groove metal that had constantly been blasting from my old boom box and introduce me to what would eventually become, my all-time favorite band.

Being 14 at the time, I was young, wet behind the ears and filled with teenage angst. Music had always (and still is) been one of my methods of dealing with the rigors of life and while the heading banging thrash assault of Metallica and Megadeeth combined with the pissed off shouts of Pantera were always at hand, “Obsolete” offered something new and unique. I remember listening to Burton C. Bell’s harsh vocals and couldn’t help but lose myself in the rage and violence in his voice. His unique blend of hoarse yells and angry shouts convey so much emotion and conjure many internal images within the listener.  However, the true curveball I experienced while listening to “Obsolete” would be the use of Bell’s clean vocals. Up until that point, aside from a few ballads from the aforementioned bands or some glam metal that I still listened to, clean singing was simply not something that I sought out to hear in my metal. (Which is why I didn’t get into power metal until late high-school) The chorus on “Shock” at first caught me off guard. I was almost ready to pop the CD out as I thought anything that wasn’t shouting, growling or guttural (I was really into Testaments’ “Demonic” at the time.) than it simply wasn’t metal enough. But, after hearing Bell’s voice, I simply couldn’t bring myself to stop the song. He had captivated my attention and had me at a disposition. After replaying it from the beginning, I immediately fell in love with the blend of his harsh and clean vocals. Bell’s voice would continue to carry on throughout the album, offering me the outlet to transmit my teenage aggression, but also transport me to a more calming state of mind when his cleans kick in. To put it mildly, they had a euphoric effect on me and still hold a certain mesmerizing effect on me to this day.

Now, at the time, I was rooted in the sound of guitar greats such as Kirk Hammett, Marty Friedman and Dime bag Darrel, so when I heard Dino’s take on guitars, I’ll admit, I was left feeling a little underwhelmed. Of course, this was not thrash metal, so to expect a shredding display of leads and solos would be foolhardy however, after multiple listens (and I listened to this album many, many times) the simplistic, yet catchy riffs would begin to resonate with the sound of the album as a whole and I began to appreciate them more. Their sound offers a robotic bite to the futuristic and cybernetic sound of the album, a sound that is both groovy and crushing, but blissfully simple in nature. Although I found myself initially disappointed that there were no solos to be heard, eventually, I began to realize that their absence did not affect my enjoyment of the album. The lack of solos may come off as a wasted opportunity to poor songwriting, but they simply are not necessary to create the foundation of sound for the album. The guitar’s offer enough substance and power to root the songs to the industrial nature of the band, while creating plenty of memorable hooks along the way. 

The drums on “Obsolete” were like nothing I had heard before. Granted, I had the pleasure of listening to Lars Ulrich and Vinnine Paul for years, but Raymond Herrera’s blistering assault of percussion was an entirely different beast altogether. The power and energy in the drums on “Obsolete” are constantly in your face and force you pay them the attention they deserve however; they are not so overbearing that they steal any other instrument’s thunder by any means. In fact, the drums aside from serving as one of the major rhythm generators of the album, create a sound that both sets it apart from the rest of the instruments, yet at the same time, serves as a beacon of harmony. This beacon allows the guitars, bass, vocals and special effects to come together as once cohesive sound. 

“Obsolete” was the first album where Dino no longer had to man the bass duties, which would be handled by new comer; Christian Olde Wolbers. Unlike “Demanufacture” the bass on “Obsolete” is felt throughout the album and is even put in the spotlight on the song “Edgecrusher” It delivers a thick and crunchy sound that reverberates with the mechanical sounding drums and futuristic sounding vocals.

Once again, Rhys Fulber adds his industrial touch, giving “Obsolete” a very unique sound and vibe to many of the songs. I’ve long heralded his abilities as an unofficial member of the band and it’s easy to understand once you hear his work on obsolete. Listen to the opening of "Shock" to hear Rhys Fulber's work on programming. The sound is a simple guitar riffs that he put through various programming modules to create the awesome and unique sound.

Music aside and being a dumb kid at the time, it wasn’t until on about my fifth listen that I finally decided to read the liner notes and discovered that “Obsolete” was a concept album. It’s a story about Edgecrusher, the protagonist, rising up and trying to destroying the machines that humanity has become far too dependent upon. The booklet contains part of the story, which is then intertwined with the actual songs and lyrics, which is a neat concept in both ideal and execution. Almost like a graphic novel only audible. Either way, it adds another awesome feature to this already wonderful album, one that was like a second, first listen once I discovered the story behind the music.

Although "Demanufacture" may have been Fear Factory's most influential album of all time, "Obsolete" would become their most successful in terms of sales. Along with their digipak material, industrial rock legend, Gar Numan is featured on the band’s remake of “Cars”, which would propel the album to gold status. Speaking of the digipak material, it contains 5 additional tracks including the “Cars” remake. Although the others are decent sounding sounds and fit the sound of “Obsolete” they had nothing to do with the story and were ultimately left of the original track list (as far as I can tell, as they don’t just sound like throwaway songs)

This was my first experience with Fear Factory when I was kid and it immediately spawned my affection for the band. I always recommend "Demanufacture" to any fan looking for metal suggestions, but almost always suggest this as a follow up due to its mainstream success and overall sound. It may not be a masterpiece in the eyes of others, but for me this album is pure gold Jerry!

 Highlights: "Shock" "Hi-Tech Hate" "Descent" "Timelessness" (Just listen to the whole album!)

Rating: 5

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: Demanufacture

In 1992, Fear Factory released their debut album, “Soul of a New Machine.” The sound was a blend of raw, old school death metal with industrial elements added to create a powerful and mechanical sound.  However, the sound “Soul of a New Machine”, albeit, effective and would be short lived as in the coming years, the band would tweak things to create the sound they ultimately thought fit their sound best. The result of said tweaks resulted in, “Demanufacture” and the brand of cyber-metal most associate when thinking about Fear Factory was born. Often considered Fear Factory’s magnum opus, “Demanufacture” would pave the way for the sound that many bands would emulate down the road.

When one thinks of industrial metal the likes of Godflesh, Ministry and even Killing Joke come to mind.  Now, while “Soul of a New Machine” was, indeed, industrial in nature, it seemed to be missing the industrial punch to join such noteworthy list of contributors of the genre. The industrial sound in question came off more as complimentary component rather than a major feature. On “Demanufactre” however, the industrial sound was no longer merely additional elements spliced into the music, but rather an equal part of the formula that makes up the base of the album.  As such, “Demanufacture” would better fit the mold of industrial metal.

The first change one will notice on “Demanufacture” would be Burton C. Bell’s vocals. His vocals on “Soul of a New Machine” were raw and primordial and tended to sound more borrowed from other death metal acts at the time. However, since that time, he has altered the delivery of his heavier vocals, which are no less crushing and furious as they were before, but they now have their own unique sound. They are harsh and hoarse, carrying an air of violence that helps set the tone of the futuristic and industrial nature of the album. That being said, Bell has also honed his clean vocals as well on “Demanufacture”. On the debut, his cleans were clear and added an almost, robotic like quality to the sound. Now, they are far more crisp and well-rounded both in quality and quantity. They are featured more often in “Demanufacture” than on “Soul of a New Machine” and help create a deeper atmosphere for the majority of the album. The cleans also add a nice ebb and flow between the harsh vocals and pounding instrumentation, which would become a staple for Fear Factory from this album forward.

Once again, Dino’s work on guitars flourish, as he creates numerous groovy and catchy leads that hook the listener from the get go. “Self- Bias Resistor” starts out with a bouncy and memorable lead and then dives right into a chugging, groove pound riff that carries the song. Many of the songs follow this pattern of opening hooks and simple, but crushing riffs and while they may not be the most mind boggling in the greater scope of riffs, they provide plenty of substance and power to enhance the mood of each song. Now, there are no solos on this album, which only reiterates my claim from before that the guitars are not meant to be the focal point of the album, but rather a musical utility knife that can hook the listen, keep them entertained with simple and catchy leads and offer a nice transition into one of the many memorable choruses on this album.

The drums are, once again, manned by the machine, Raymond Herrera. His display of power shows even more so on “Demanufacture” as he hammers away from song to song, creating a lasting impact on the entire album. Drums have always been a driving force for Fear Factory and once you hear their effect on this album, you’ll agree that their presence is irreplaceable. The drumming plays right along with the guitars for the most part, serving as a tandem rhythm section, creating section after section of memorable music. The bass, once again played by Dino, is not nearly as present as it was on “Soul of a New Machine”. Its absence is noticeable, but it really doesn’t take away from the overall industrial sound, but that being said, it would have been nice to hear it more often.

Rhys Fulber’s keyboards and mixing provide a spark to “Demanufacture” that was simply missing from “Soul of a New Machine”. Once he began working with the band on “Fear is the Mindkiller” his electronic and techno oriented background added an entirely new level to the sound of Fear Factory. Once might even say that, his industrial/techno touch may have helped the band formulate the cyber metal sound Fear Factory have mastered for 25 years.

Regardless of my fanboyism towards Fear Factory, “Demanufacture” is simply, a landmark album. It’s importance to various metal acts is widely regarded and there is a reason why it pops up on numerous top xx albums of all time lists. Whether you love them or hate them, there’s no denying the footprint “Demanufacture” left on the metal community.

Highlights: “Demanufacture” “Self-Bias Resistor” “Replica” “Zero Signal” (I really don’t’ want to list the entire album here, but you get my point)

Rating: 5

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

Fear Factory: Soul of a New Machine

Fear Factory have been pumping out their brand of “cyber metal” for nearly 25 years, combining groovy heavy metal and industrial elements to create a futuristic atmosphere throughout their discography. However, before the band developed their trademark sound, they began in a much different light. Beginning their career under the name Ulceration in 1989, the band was set to release an album titled “Concrete”, but ultimately decided to scrap the album and undergo changes within the band. (more info on this can be read on the “Concrete” album that was released in 2005). Anyhow, out of the ashes of Ulceration, rose Fear Factory. After a couple of demos, the band would release their debut in 1992 “Soul of a New Machine” and the rest was history.

Often dropped into the industrial category, it is true the Fear Factory dabble with a lot of technological, futuristic and sci-fi sounding material (which really began to show on their sophomore album, “Demanufacture”). But, before they would earn that label of “cyber metal”, the band played a very old school style of death metal, capturing the sound of the US death metal scene at the time with dark and guttural vocals, crushing guitars and pounding drums. The atmosphere on “Soul of a New Machine” dwells in the harsh realities of today’s (as of 1992) world, while giving us a glimpse into the even darker and more disturbing realities of the future. However, unlike many of the copy and paste death metal acts around that time, Fear Factory were able to establish their own identity by incorporating the use of industrial elements to add a slight edge to their vision of death metal and thus, gained interest from various circles within the metal community.

The sound on “Soul of a New Machine” resonates with the likes of post-grind Napalm Death or Godflesh and even a little Entombed at times. There are many groovy, chugging sections as well as, short and disruptive blasts of guitars and drums. When you listen to this 17 song behemoth, you get the feeling of being trapped inside a dark, abandoned factory. (Ironically, the band did rehearse in a factory, which apparently leas to the choice of name, perhaps that was the inspiration for their sound as well?). The sound is dark and lonely and inspires a certain fear and anger while listening. The industrial/techno twinges that the band splices into the music offers a cybernetic edge to their sound, but the sound here is most definitely death metal.

I’ve always loved the sound of Burton C Bell’s vocals. His cleans, for me, have always been simply stunning. Age and program assistance aside, he ranks as one of my favorite singers all time. Staying on the subject of clean vocals, one of the factors that made “Soul of a New Machine” unique was the use of Bell’s clean tones and how they added a distinctive layer to the albums industrial approach. Clean vocals had been used in death metal before, but Fear Factory decided to make them a feature of the album, not just to simply to add variation to their sound, but to add depth to their overall theme. Yes, Bell has a nice clean voice, but there are times when his vocals give off the presence of being almost robotic (I hate to say industrial), or machine like, which both compliment and contrast with the harsh, vocals on the other side of his vocal spectrum. As for those harsh vocals, Bell would develop the right combination of anger and fury that would anchor his sound for the majority of his career after this album, but on “Soul of a New Machine” they are a mixed bag. At times, he carries a very low, monstrous tone that sounds almost like a loud whisper (“Martyr”), while at others, he lets loose with a mix of horrific growls and guttural barks. I’m reminded of Mark Greenway’s vocals from Napalm Death’s, but Bell has his own distinct sound that adds an eerie echo to his vocals.

Dino Cazares’ guitars have always been one of the highlights of the band, as he has the ability to create the futuristic tone that roots Fear Factory sound. On “Soul of a New Machine” the riffs here are thick, down-tuned and crunchy, which creates a distorted atmosphere. The leads haves plenty of groovy chugs to their makeup, but the industrial tweaks and hollow production makes many of the riffs sound almost like a machine in nature. The overall approach to the guitars on this album is not so much about creating catchy leads or shredding solos. Their purpose is to develop an industrial impact while helping depict the harsh truths within the vocals. There are some nice rhythms to be heard in the way of tempo changes and time shift, which coincide with Bells’ vocals nicely and create a nice harmonizing effect.

Raymond Herrera’s drum work is an awesome display of power and ferocity, a trait that would follow him throughout his tenure with the band. I’ve always said that his style is resembles that of a machine playing the drums and on “Soul of a New Machine” that mechanical style is on full display. The drums help create a powerful rhythm throughout the album, using a mixture of pounding beats, crashing cymbals and bass kicks, but they are not merely a mash up of loud percussion and noise. They, much as the crunchy guitars and Bell’s vocals, offer yet another layer of the industrial sound, creating an almost machine like atmosphere that helps place you in that abandoned factory the sound the album is rooted in. The force of the drums always makes an impact on the songs, which would simply be lost without their touch.

The bass, which is credited to Andrew Shives that, other than a live performance, did not perform bass duties on the album. It was, in fact, Dino that played bass, or at least recorded the bass tacks in studio. Anyhow, the bass itself is even more thick and sludgy than man of the guitar chords, which at times gives the sound a very despondent sound, while also harmonizing quite nicely with the guitar leads.

Now, putting my Fear Factory favoritism aside, I will say that this is far from a perfect album. There are moments when listening to the album straight through that the sound becomes, monotonous or for a lack of a better word, samey. The production has its flaws as well, as there are times when certain instruments tend to sound as if they are in the distance compared to the rest, but they are never ignored, nor completely washed out entirely. As I mentioned, Bell's vocals are not as well rounded as they would sound on later albums, they were no less effective for the brand of death metal on display here. “Soul of a New Machine” would mark the start of a very long and successful career for, Fear Factory and I would say this album is an important release for just for the death or industrial movement, but for the heavy metal movement in general. As a Fear Factory fanatic, I would rate this a 5 but viewing it impartially, I will put aside my fanboyism and knock it a few points due to a few blemishes present.

Highlights: "Martyr", "Crisis", "Crash Test", "Self Immolation"

Rating: 4