Author & Punisher: Melk En Honing (2015)

In case you don’t remember, Author & Punisher is the one-man band of Tristan Shone. Well, one-man in the same way that a BattleMech pilot is a one-man army. He creates his noise with a bunch of homemade, manually-controlled, analog machines, like something out of a steampunk/industrial world

The spectacle must be fantastic to watch. But in the past, I’ve been a little underwhelmed by the recorded output. Melk En Honing is getting a little closer. Throbbing rhythms like an obscene factory floor, pounding percussive forces, and a rising or falling buzz: These things define Author & Punisher, and should redefine the meaning of “industrial metal.” And it’s quite dynamic, loud, quiet, fast, slow, all of these things are used in good measures. But it feels more expertly planned than brilliantly written.



Ultimately, the songwriting still isn’t there. Shone is obviously a fantastic hobbyist engineer. But I don’t think he’s going to truly make a great album unless he collaborates with someone else.

The Verdict: 3.5 out of 5 stars

Wreck and Reference: Want (2014)

Machine of Confusion

Wreck and Reference isn’t a metal band, but it’s certainly extreme. Sort of like Botanist in that way—Botanist’s Otrebor is actually the one who told me about this project. But this is the first time I’ve heard some Botanist influence in Wreck and Reference, particularly the piano parts in “Apollo Beneath the Whip.” But that’s jumping too far ahead.

Wreck and Reference is more of an industrial band, I guess? I’m not really clear on the proper terminology when you get into that area. Simile and metaphor are my preferred tools, so let’s try it out. W&R is like Nine Inch Nails reimagined by Sigh. A much more off-the-wall beast, vastly more intimidating and chaotic, but with some root similarities.

Powerman 5000: Builders of the Future (2014)

Nostalgiatrip 2000

I picked up Tonight the Stars Revolt from the $9.99 bargain rack when I was working at a Target in 1999, around the same time I bought Static-X's Wisconsin Death Trip and Staind's Dysfunction. I know, I know: I was cool. I remained a fan of Powerman 5000 for several years, picking up everything from their early nu metal/funk metal Mega!! Kung Fu Radio (1997) to their industrial/alt-metal/hard rock Transform (2003). (And, like everyone else, pirating Anyone for Doomsday?) But honestly I was only vaguely aware that they had released at least one album after that. I haven't followed them since, but I also haven't divested myself of my collection, as I have with so many others.

Imagine my shock to find a promo of their new album in my inbox. I'm still a little surprised to find out they never went away (although a glance at their Wikipedia page shows their glory days are long gone). So, for old time's sake, I thought I'd have a listen.

Fear of Domination: Distorted Delusions (2014)

Really?

Review by Metallattorney. He is the law.

Seriously? There are still bands like this out there? Not to mention newish ones? Immediately when this album began I felt like it was 2000 all over again. I would have loved this early in college. Jaded, lawyer me is not nearly as impressed. That is to say, I found this barely listenable. I was even more annoyed with the band photos which portray a group looking like a cross between Mushroomhead and Hollywood Undead.

Musically this band sounds like a cross between Spineshank and mainstream-leaning In Flames. There is some melodic death metal present in there but the industrial tinges overwhelm them frequently to the point where the keyboards are about the only thing that can be heard. The music sounds incredibly juvenile, the kind of thing that 16-18 year olds would play loudly on their car stereos to freak out the neighbors. I know this, because I was once one of those kids. But now that my tastes have matured I find myself avoiding schlock like this.

Psalm Zero: The Drain (2014)

Industrial Progress

The word “jazz” immediately makes me suspicious. I fucking hate jazz. I know, I know—allegedly there was a time when jazz was both the most avant-garde and the most visceral music out there. As far as I can tell, it’s soulless and aimless. It’s background music for social situations among fake people. Adding jazz to metal is usually the equivalent of adding poop to ice cream.

One of the guys in Psalm Zero (Charlie Looker) is known, at least in part, for jazz, so I did not have high expectations for The Drain. Luckily, the other member of the band is the dude from Castevet (Andrew Hock). So, a math rock/jazz guy and a black metal/hardcore guy get together, and they make industrial prog-metal. Obviously. No, I don’t know where I’m going with this either.

Metal Briefs: More Short Briefs of 2013

Two by Two

Two-song releases comprise a lot of my listening lately. It only seems fitting they get two-sentence reviews.

Aktor: I Am the Psychic Wars
4 out of 5 stars

This sounds almost exactly like Dawnbringer's last two albums, but with prominent synths added to the mix. Pretty fucking rad.

Azure Emote: The Gravity of Impermanence (2013)

What the Hell am I Listening To?

Review by Metallattorney. He is the law.

What a weird album. I am not even really sure how to classify this band. I suppose the best way would be to compare them to a group like Hollenthon, Septicflesh, Sigh, or the oddball projects of Dan Swanö. In other words, they seem to have influences from a wide variety of metal styles, such as black, death, and industrial. Never has the term avant-garde been more fitting than when listening to this album from Azure Emote.

This is Azure Emote's second album and it has gained them a fair amount of interest. I have been in a little bit of a metal black hole in the last few months due to an extremely busy work schedule and even I have heard some hype about this release. Azure Emote is the new band of former Monstrosity frontman Mike Hrubovcak. But it definitely does not follow in the footsteps of Monstrosity. Monstrosity was a fairly paint-by-numbers death metal band. As previously stated, this is anything but formulaic. The songs do not follow any traditional song structure and the music is widely varied, crushing and intense one minute, slow and dissonant the next, and allows with a number of sonic surprises.

Author & Punisher: Women & Children (2013)

What Is This? Does It Matter

Review by joanismylover, the third metal attorney.

I like the Crystal Method. I can shake my ass and nod my head to it. It’s electronic, but it’s large. It’s dance music but it’s excessive. It’s also kind of heavy. It’s got atmosphere – maybe not a metal type of atmosphere, but there’s a presence to the music that gets my attention. Maybe there’s not a lot of substance to it but there’s good songs there. I’m not really sure what type of music it is, but that doesn’t matter. It’s good and I want to listen to it.

I’m not really sure what kind of music Author & Punisher is, but I’m also not really sure it matters. The question is whether it’s any good and do I want to listen to it. At first I didn’t. I gave it a once-through and wasn’t really captivated or even interested. But then I played it again. And I got a bit more interested.

Altar of Plagues: Teethed Glory and Injury (2013)

Post-Post-Black Metal

Altar of Plagues was one of the originators of post-black metal half a decade ago, and since then it has been a growing field. I wouldn’t say it’s oversaturated, but it has become a corner of the metalverse that’s attracted a lot of “hipster” accusations, deservedly or not. Perhaps that’s why AoP decided to get away from the genre, or perhaps they simply wanted to explore something else. Either way, Teethed Glory and Injury marks a stark change in direction for the Irish band.

There are a lot of commonalities between the old Altar of Plagues and the new Altar of Plagues, but only at a genetic level. The expression of those genes has been altered. It’s as if they went into a cocoon and completely deconstructed themselves into a new form. You can throw the “post-“ out the window here. Instead, the terms “progressive” and “industrial” would be more appropriate, but any comparisons to Aborym or Enslaved would be facile. Just as when they began recording music, they are complete originals.

Viter: Springtime (2012)

Subway to Boredom

Guest review by Patrick, proprietor of Beards, Etc.

Viter are a Ukranian folk metal act with a good deal of electronic influence in their sound. The band released a series of singles over the course of this summer which were collected together last month, along with a new title track, to form their debut full-length album Springtime. My initial response to this curious synthesis of electronic tinges in folk metal was one of definite interest. I've encountered other works in this vein which I really enjoyed, so I was ready to hear more.

Stagnant Waters: Stagnant Waters (2012)

Massive Steel Asylum for Self-Aware Robots

Guest review by Patrick, proprietor of Beards, Etc.

Stagnant Waters are apparently of mixed French and Norwegian origin, and this month will see the release of their self-titled debut album. I'm not totally sure how to classify their style, but I think the closest label would be something like avant-garde industrial metal.

First and foremost, this band has three outstanding qualities. They are extremely creative, extremely energetic, and extremely diverse. The group employs an enormous amount of electronic sampling and distortion throughout the record, with sounds ranging from outright aural assaults of pure noise to quiet and spooky passages of mellow background sounds to squawking saxophone pieces. Sometimes this record is loud and aggressive beyond measure, other times it's remarkably soft. Throughout it all everything is very alien, impersonal, mechanical, and slightly unnerving. The vocals which crop up are heavily processed and distorted, as are the bulk of the instruments, so that when something makes it through the mix untouched by electronic interference the very organic nature of its existence is a shock to the senses, like a vine growing up through a crack in the floor of a massive steel asylum for self-aware robots.

Nachtmystium: Silencing Machine (2012)

Welcome Home (Nachtmystium)

The story of prominent metal bands drifting away from the genre is a familiar one. I've covered quite a few of them in these "pages." These bands tend to be prominent because of the risks they've taken, and their attitude toward expanding horizons. Inevitably, it seems, this leads to the abandonment of metal. Nachtmystium is one such band. With the Black Meddle albums, they consciously, openly, and defiantly toyed with the limits of black metal. In Assassins, they superbly explored psychedelia. In Addicts, they explored their industrial side. With each, they strayed further away from metal.

Now, in a move almost never seen, they've reversed course. Silencing Machine is more black metal than either of their two previous releases. Don't take that to mean they've gone "kvlt," "troo," or "necro," however, as the lessons they've learned have been carried on.

Wreck and Reference: No Youth (2012)

A Personal Recommendation

When one of metal’s most innovative artists personally contacts you with a specific recommendation, it’s probably a good idea to listen. Otrebor (of Botanist fame) contacted me about Wreck and Reference, so I listened.

If that name-drop alone doesn’t pique your interest, perhaps you should know their sophomore effort No Youth was mixed by Krallice’s Colin Marston, a.k.a. the producer du jour for avant-garde extreme music, and the vinyl version will be released by The Flenser, a.k.a., the next Profound Lore. From all that information, you’re probably pretty sure whether this is something you’d be interested in, or if you’re just going to move on to the next Hell’s Headbangers release. (Not that there’s anything wrong with that.) But if you’re still on the fence, it might help to know that it’s available for a pay-what-you-want download.

Fear Factory: The Industrialist (2012)

Fully Mechanized

Fear Factory is perhaps the most extreme band ever to make a dent in the mainstream. I actually picked up a copy of Obsolete as a prize at my post-prom, of all places, back in 2000. Fast-forward to 2010, and the real Fear Factory's comeback album Mechanize was one of the first album reviews I ever wrote, giving it a 4 out of 5 star rating. You could say I'm a fan.

The Industrialist is a continuation from the core Fear Factory Obsolete/Mechanize industrial groove metal sound that I'm sure you already know, complete with the catchy, clean vocal choruses that let them put their feet in the door of the mainstream. Since there's no innovation or change in direction here, it's pretty easy to set it side by side with the other records in their catalog to see how it stacks up.

Killing Joke: MMXII (2012)

Hilarious

Killing Joke is a legendary band, hardly in need of any introductions. Nevertheless, I haven't made myself familiar with their discography. The only one of their records I've heard was 2006's Hosannas from the Basement of Hell. But I liked that record quite a bit, so when I happened across their new record MMXII, I thought I'd try it out.

And it's quite a bit different. Comparatively, Hosannas is much further into industrial metal territory, while MMXII is a lot more post-punk, with an infusion of 80's style synth-pop. I'm not ordinarily big on any kind of punk, but the synth-pop spin on heavy music--well, that's a bit of a guilty pleasure for me.

Strom: Herz in Fetzen (2011)

Summary Judgment

Someone in the camp of German industrial rockers Strom contacted me about their new EP, Herz in Fetzen. I don't mind saying I'm kind of a sucker for industrial rock with a metallic edge, and a brief sampling of their sound reminded me of Rammstein. I'm not sure whether Rammstein is currently acceptable among the true metal police, but I've always been a fan.

I was on the fence while listening to the full EP. It reminded me just as much of Linkin Park as Rammstein. (LP is firmly in the realm of "stuff I hate".) I was on the fence, that is, until I heard closer "Was Du Fuhlst". Auto-tuned vocals. Ugh. I'm still not prepared to say that auto-tune is always a bad thing, but I've still never heard it in anything I liked.

OK, the EP is not all that bad. But I'm issuing summary judgment against it. You can go to the label if you're interested.

Danzig: Blackacidevil (1996)

Motion for Reconsideration

Danzig's Blackacidevil was a huge departure for the man and the band, and by many it has been sharply criticized. But really, it doesn't deserve the bad reputation. And it certainly should never have been a big surprise change in direction.

Of course, Glenn Danzig started out as a formative influence on the punk world with the Misfits in the late 70's, and left that band to form his own punk band Samhain. These are still the only punk bands I listen to. It wasn't until 1987 that he got into metal. The first three albums from the band Danzig were stripped-down, simple heavy metal with a strong focus on Glenn as a powerful frontman. Yet each of these albums had its own character, and had forays into different styles (such as country). By the time of 4p, he was already experimenting with industrial elements (see "Cantspeak"). The band Danzig has always been about the man Danzig, and the man has always been about trying different things. In that sense, the fifth Danzig album should have been an entirely expected experiment.

And it's not bad, either. Throughout the album, industrial noises and rhythms seem to be the key, especially in the verses. The title track and "Power of Darkness" are really just noise without riffs, and they're not very compelling. But some of the choruses tend toward classic Danzig: Opener "7th House" and "Sacrifice" have some excellent (and unmistakably Danzig) riffs. Other tracks are industrial doom in character, with industrial noises on top but extended guitar chords in the background ("See All You Were") or slow, crunchy riffs ("Hint of Her Blood"). The latter doesn't work terribly well, because other than a change in drumming halfway through it doesn't seem to go anywhere. "Serpentia" starts out as merely industrial, but turns into this kind of industrial doom, and it happens to work well. "Come to Silver" is mellow, with acoustic rhythm guitar and electric leads, and it's pretty good--but it's actually better in the non-industrial version off The Lost Tracks of Danzig.  The compelling Closer "Ashes" is based around piano, and recalls Glenn's Black Aria more than any of his band work.

The real highlight is the Black Sabbath cover "Hand of Doom". The crunchy industrial sound works really well to emphasize the ominous and hypnotic nature of the verses, and they throw in some great new guitar solos.

The original version doesn't really have a whole lot to recommend it ("Sacrifice" and "Hand of Doom" are the only essential cuts), but the bonus tracks on the 2000 reissue make it worthwhile. "Deeper" is a heavy and simple reworking of a song that appeared in the X-Files movie soundtrack, and has a killer How the Gods Kill style riff in the chorus. "Bleedangel" sheds Danzig's normal verse-chorus-verse structure and shows that, at some point, he figured out how to make a really eerie and interesting industrial song. On the downside, "Don't Be Afraid" is just stupid, and "Ashes" makes a much better closing track.

The Verdict: In all, it was an interesting experiment, even if it was very hit and miss. I give the original version 2.5 out of 5 stars, and the 2000 reissue gets 3 out of 5.

Aborym: Psychogrotesque (2010)

Review

Aborym is an Italian industrial black metal band who have been combining the two styles longer than just about anybody else. Even after 18 years, they haven't had very many copycats, as it's not easy to combine black metal's signature tremolo riffing with the staccato rhythms usually associated with industrial. But Aborym clearly knows how it's done.

The tracks (ten of them, plus a hidden track) are simply given a Roman numeral for a title. Sometimes, they're almost purely industrial metal, as on "VIII" the guitars are somewhat in the background of the rhythm section while a synth melody and industrial drumming are at the forefront. Other times, they blend black metal and industrial together expertly. "II" is built on a thrashy black metal riff with a synth melody interwoven, but then moves into simple tremolo riffing with industrial atmosphere. "III" starts on an industrial rhythm but moves into blast beats.

Most of it is fast-paced, but there are times when it moves slower. "X", for instance, starts thrashy and moves into a thrash-style solo before slowing down to a simple discordant riff and weird strings providing atmosphere. The vocals tend toward black metal rasping, but there are some clean vocals and spoken word styles.

You would think combining industrial and black metal would make them unique enough, but Aborym don't limit themselves to the normal tools of the trade, employing saxophone, female operatic singing, very strangely played strings, and a creepy "Over the Rainbow" music box.

OK, so that sounds like a lot of elements that shouldn't fit together. But it does, because everything seems to stay in its place. As a rule, the synths provide the melodies, while the guitars provide the aggression, and the other odd elements are brought in for atmosphere. They don't try to wedge the sax into a section with blast beats, or throw the thrashy riffs over industrial rhythms. And it's all held together by a kind of paranoid feeling that matches the album art.

Some of it (like the industrial atmosphere tracks) is more or less filler, and a couple tracks are forgettable, but there are some definitely memorable highlights ("II", "V", and "X").

The Verdict: Aborym stay near the edge of extreme metal and mix it up, but they seem to have an innate sense for knowing when and how to break the rules. It's not a perfect album by any means, but it's entirely unique. I give it 3.5 out of 5 stars.

Dååth: Dååth (2010)

Review

Dååth (sometimes written as "Daath") is one of the most well-known and most hyped bands of the New Wave of American Heavy Metal. Most "trve metal" folk rip on them, probably because the band is now associated with both Roadrunner and Century Media. If you hate them because they're not kvlt enough, maybe you should read True Metal vs. False Metal instead of reading this review. If you like DevilDriver, Lamb of God, Machine Head, or Fear Factory, read on.

Though they're often cited as an industrial death metal band, Dååth is not exactly Zyklon or The Berzerker. More accurately, they're an industrial groove metal band with some melodic death influence. In other words, they're a cross between DevilDriver and Fear Factory. As with the band's previous material, you'll find blastbeats mixed with industrial sounds, heavy mid-tempo riffs, fast riffs, and black metallish distorted vocals.

This self-titled album is their fourth full-length. Sadly, it doesn't really offer a whole lot of evolution for the band. Highlights like "Indestructible Overdose" and the extremely catchy "Accelerant" are perfect examples of the great songwriting this band is capable of. But there seems to be more filler on this album ("Exit Plan", "Manufactured Insomnia", "A Cold Devotion"). That's probably due to the band's core members overextending themselves. The excellent The Hinderers came out three years after the band's debut, and the very good The Concealers had another couple years to brew. In contrast, this one is coming out a year after The Concealers, and just months after the debut from Levi and Werstler's side project.

The Verdict: There are a few excellent tracks to be found here, but the majority of the album is forgettable. That seems to be the new pattern for Century Media. I give Dååth 3 out of 5 stars.