Marilyn Manson "One Assassination Under God - Chapter 1" (2024)

 Moving on from the catchy Post-Punk period vibes We Are Chaos reveled in, the band trade in those flickers of color for dreary tones steeped in indulgent misery. Bleak, downtrodden and typically anthemic, Assassination hails back to the spirit of Antichrist Superstar with the metallic inclinations of Holy Wood. Manson's lyrics flow potent and cutting. Renewed with a biting anger, his disenfranchised cries come wrapped in religious overtones and social commentaries. Spinning disillusionment into reverence once again, the nostalgic familiarity hailing back to their creative peak sounds fresh. A few tracks further in, words turn inwards, reflecting on addiction and escapism, a new avenue heard since fragilities expressed on The Pale Emperor.

Throughout Assassination, in some of his words linger a sense of martyrdom, spinning controversies of recent years to paint himself the victim. The tensions amass with Raise The Red Flag. Antagonistic lines make a climatic declaration to "wash the bullseye off my back". Through the lens of artistic expression, its a marvelous twist of the arm, however when reality and legal proceedings are a long muddy affair of accusations and defamation, its hardly a black and white case you can rally behind.

Lastly, the instrumentals are well crafted, a consistent aesthetic that serves this album experience well. Shifts in tones can ramp up intensities for aggression and subside into rebellious melodies. It all flows cohesively with their iconic front-mans licks. At fifty five, he can still deliver his knack for devious and catchy hooks. Now lacking the shock and awe he once commanded like a prophet, Assassination's potent expression themed on recent accusations land well but perhaps with an air of doubt.

 

Rating: 8/10

Gothminister "Pandemonium II: The Battle Of The Underworlds" (2024)

 

Excitement swiftly squashed, another cast iron installment diminishes my faith once again. In retrospect, my expectations were unreasonable, considering this is a direct follow up to Pandemonium. Unable to grow past this Gothic symphonic Trance fusion with Rammstein style Industrial Metal, Gothminister recycles their blueprint with even less pizzazz than usual. Scenic interludes play underwhelming, attempting to raise theatrical stake yet any deviation from the tested formula sadly felt stale.

 The word of the record is "we". More so than ever, this perspective illuminates itself, a Gothic horror inspired realm of witches, demons, ghouls, zombies and monsters of the underworld. These flag waving war cries paint a protagonist's voice for these unsavory beings, rallying them together in the shadows. Its fun but at this point driven into the ground. Repeated lyrical cadences and thematic stagnation churn the whole anthemic angle into rigmoral, as track after tracks repeats itself with little new to offer.

When bands fail to evolve, they run the risk of writing themselves into a corner. It's a shame, a few albums back they hit a nerve. That spark is lost. Every song here lingers in its shadow, saying nothing new and often making you feel a sense of Deja-Vu.

Rating: 4/10

Wargasm "Venom" (2023)

 

With refined stylistic focus, Wargasm return, honing in on their own antagonizing identity. With additional ferocity, the spirit of a Nu Metal revival is in the air. With Venom, a consistent streak of Gold Cobra era Wes Borland guitar riffs guides their Electro-Punk mania to gratifying bursts of aggression. The duo strip out the genres tired downtrodden spirit, infusing it with obnoxious club drums, dizzying studio manipulations and generalized chaos. Underpinned by an enthused energy fit for the stage, most these cuts play with visions of them tearing it up in front of a lively crowd.

Fred Durst shows up for a massive, bouncy collaboration, making influences clear and known. Its a fantastic endorsement. These big riff songs tend to be the standouts. A string of early tracks lacked these guitar elements and it didn't land the same. When the unhinged rage and jilted grooves collide, this pair are in their element. Later in the record the metallic side gets explored in varying intensities to great enjoyment. I've enjoyed Venom immensely but I'm keen to see them mature and take these ideas further.

Rating: 7/10

Ministry "Hopiumforthemasses" (2024)

 

This sixteenth chapter, proclaimed as their second to last record, Al Jourgensen's Ministry strive onward with their current temperament. Similar in tone and aesthetic to AmeriKKant and Moral Hygiene, the band issue another set of disgruntled social political observations. With vocal snippets and dystopian instrumentals, the hot topics and events of the last few years in American life get a familiar treatment.

Thudding, punchy, repetitive drum beats guide groovy mid-tempo metallic riffs through the barrage of Al's shouted snarls and keen sampling. A subtle collusion of deranged synths and odd instrumentation line the core elements on occasion with a distinctive flavor. Mostly, it falls within expectations, Cult Of Suffering ventures boldly off the track with soulful singing and dreamy guitar chords over a warm crooning baseline.

Otherwise, its been business as usual, fun, predictable but lacking the bite of its predecessors. Aryan Embarrassment struck a nerve with an astute point aimed at paranoid antisemitism. As to be expected, not all messages resonated. Just Stop Oil's fun anthem couldn't stir much compassion for their ridiculous message. Hopiumforthemasses is fair but milder, ending with the tacked on Ricky's Hand. A stiff piece sounding like a re-recording of a lost composition from their Synthpop days.

Rating: 6/10

Wargasm "Explicit: The Mixxxtape" (2022)

 

Despite grinding out familiar roars of disgruntled anger, this rebellious, antagonistic duo known as Wargasm, might be one of the fresher breaths of air circulating in a stale Metal community. Underneath its chaotic veneer, the fundamentals may have more in common with the likes of The Prodigy and Aggro-Tech. A constant barrage of unsettled, gritty noise pummels through lively drum machines, sharp distortion guitars, rabid screams and screeching electronics. A fun jumble of unabashed offerings.

 The opening explanation of an all too obvious pun the name is feels redundant. The following five tracks never let up on its ceaseless energy. Gristly lulls and melodic breaks feel like soft dressing for the next moment of madness. Fiery outbreaks of crammed aesthetic erupt on every track, gratifying ensembles of noisy oddities and groovy riffs to latch upon. Tinged with hints of Rap and Nu Metal, its my cup of tea.

The pair do all production themselves. Either an individuals vision or fruits of bouncing ideas of one another, the chaotic webs of wrangled aesthetics they weave are wonderfully unhinged, yet latch onto something that clicks most of the time.

Matlock provides the consistent barrage of angered shouts. Way is a touch understated as an effeminate yet mischievous counterpart. Her presence is similar to Poppy and when in a melodic passage, offers an under explored dimension of their partnership. Wargasm are exciting, this short release is a decent appetizer.

Rating: 5/10

Frank Klepacki "Initiative" (2023)

 Frank Klepacki is back! Not the first post-Remaster release, but one that caught my eye! Picking up his battle axe and throwing down stompy thrash grooves alongside dystopian synths, Frank revives classic Command & Conquer vibes and aesthetics for another metallic romp of his janky Electronic Industrual funk! This outing comes steady, lean and refined, a consistent burn with anything in the way of experimental or out of the ordinary arriving through his guests Glenn Kachulis & Connor Engstrom.

 Gunslinger mashes his cyberpunk Disco thump with slick Mexican guitar licks. An unusual union that somehow persuades despite its dramatic shift in tone. The following Dark Assault showcases Connor's flashy lead guitar talents, a dazzle of steely blazing melodies to act as a voice. Unfortunately it spells missed opportunity, as Frank ditches his unique Industrial sound design for a high speed metallic fodder. The result is a rather generic splash of pacey fire and fury. Slick but again shifting tone.

The rest of the music finds familiar face, an unravel of detached melodies, woven through a web of hard hitting instruments. Arrangements whirl with sequenced mechanical activity as pulses, zaps and industrial clank rub and rattle against its organic tones. The contrast can be enjoyed with little effort. Flushes of Prog Rock leads and Metal guitar accompany its varying temperaments. A solid listen to stir up a colorful dystopian vision of futuristic proportions but lacks anything truly special.

Rating: 6/10

Frank Klepacki "Rocktronic" (2004)

 

Following on from Morphscape, It seems Frank was left in the lurch, a period of sweet stagnation for this fan. With C&C Generals, the shift to 3D left me behind, as did Frank's involvement in the games music. Released two years on, Ive found this dusty Rocktronic album firmly resting on the Red Alert 2 mindset. Its production a shade more robust, the janky assembly of Electronic-Industrial and Metal guitars comes mostly consistent with punchy, unabashed charges of gittery melodies and snappy grooves. These songs play with restless energy as its instruments know no subtlety.

Two tracks, Take Me and Bring The Fight, take a distinct turn, ditching the drum machines and electronics, they take on a rock band aesthetic clearly reveling in Rage Against The Machine inspiration with Tom Morello guitar riffs front to back. The change in tonality is jarring, the lack of originality leaves it a stale footnote among an otherwise decent collection of C&C style hits. In The Tunnel resurrects soft atmospheric touches reminiscent of the first Red Alert, yet forces in some clashing obnoxious elements too. Rocktronic is a fair listen, unsurprising but fun for this fan.

Rating: 5/10

Frank Klepacki "Morphscape" (2002)

 

 

Frank Klepacki, creator of the timeless Command & Conquer soundtracks that have obsessed me since playing the classic Westwood Studios games in my youth. His debut solo release Morphscape is no unknown entity. Yet despite discovering it many moons ago, it seems this musical gem never really registered. Released after Red Alert 2 and Yuri's Revenge, this is clearly a collection of leftovers from those sessions.

 

The unabashed aesthetics and niche stylistic framework remains intact. A jiving fusion of Industrial grit, futuristic Electronic, Funk bass grooves and on occasion, a slab of Metal through distortion guitars. These elements meet on bold ground, punching stiff melodies and rhythms into the fold. Controlled chaos emerges as layers of crowded sound compete for dominance, a familiar yet strange charm resonates again.

On its surface much of Frank's compositions seem tacky and unhinged. Despite its crude union of snappy instruments, immersion emerges through the various pivots that signal intention and direction. Best are the plastic sweeping synths, often arriving unexpected, manipulating a lively adventure with a soft passing emotional depth.

Quality is reasonably varied, as are the particular styles explored. Although I enjoyed all but one of these cuts, only a couple felt they could have offered the original soundtracks something extra. The other songs bore much resemblance to originals, with similar ideas, arrangements and aesthetics being spun with less magnetism.

That leaves us with one song, Gonna Rock Yo Body. Clearly his passion project, Frank pays tribute to legend Afrika Bambaataa and the Planet Rock musical blueprint. It illuminates some vague Hip Hop related influences lurking elsewhere on the record. On first listen, a comical, quirky take. With repeated listens its stark unapologetic nature becomes tiresome. An odd blemish among a fine collection of C&C songs.

 

Rating: 6/10

Skinny Puppy "Rabies" (1989)

 

Where this journey ends, others shall begin. Having occupied a fair portion of my auditory real estate, I've come conclude there is little left for these Canadian Industrial pioneers to offer. Despite legendary status among the Industrial Metal I adore, the unearthing of the disjointed musical ideas that informed them has become a dull drone. On this fifth outing, Skinny Puppy recycle their dissident formula for dystopian soundscapes again. Lined with malfeasant movie snippet samples, inhuman percussion and jolting baselines, Rabies oddly offers the most accessible incarnation yet. Even so, its mediocrity has songs failing to favor themselves with memorability beyond brief surges of unsettling noise and claustrophobic vocal distortions.

A few songs are distinguished with a new dimension for the group. A metallic drive, as Al Jourgensen of Ministry lends his guitar craft to his musical idols. Thrusts of enthused yet blunt distortion riffs grind in repetition to lend a familiar aesthetic. Sadly the meld is a dull one, perhaps peaking with Facist Jock Itch, although its rampant snare drum abuse is a grating one. Other than this chemistry of note, the records aesthetic and atmosphere echos so much I've adored of their influence yet again fails to connect. Warlock manages a special moment, its alien vocals emoting deep pains with fascinating guile. As its concludes, the rising synths birth something unique. It reminds me fondly of Dysmorphik. There are more records in the catalog but currently the exploration seems futile and thus another journey concludes itself.

Rating: 4/10

Gothminister "Pandemonium" (2022)

 

With age comes a diminishing pace. Now five years apart from The Other Side, Gothminister makes a meager return. Seemingly stuck in their ways, this seventh outing suffers its own lack of inspiration. Pandemonium breeds business as usual. A deck of songs, recycling their Gothic brooding theatrics, still tinged with clubbing Synthwave aesthetics and built on the triumphant march of chunky Industrial Metal.

Guitar leads brazenly assail stomping power chords chugging below, a militant syncopation by the rhythm section. With darkly drive, each song lunges forth with a cadence Bjørn Brem has performed before. Lyrical themes echo past musing of outsiders embattled against all odds. Both sentiment and delivery fit an unchanged mold. Lined by rhythmically oscillated synths, both aesthetic and music is expectant.

Getting off to a rocky start, Pandemonium's opening title track toys with an experimentation. The percussion drops convention in favor of unsettled grooves, attempting polyrhythms but seemingly out of step with the rest of this music. Its an odd impression for a record that has absolutely nothing new up its sleeves. Despite being of my liking, a lack of anything fresh lands this one as a disappointment. Although its a fair execution of the Gothminister sound, I'm left with little reason to return again.

Rating: 5/10

Rammstein "Zeit" (2022)

 

Have Rammstein found their footing again? Three years on from the untitled record with a pandemic wedged in-between, they would have had any excuse for another long absence, as bands quite often do with age. Zeit is a potent return, musicians in stride, armed with new inspirations. Their classic fist pumping Industrial Metal might comes with a measure of maturity and atmosphere. The expectant stomps of chunky mechanical groove take more of a backseat alongside brooding emotive tracks. Slow, scenic strides of soft textures, pianos and synths, bubbling up into swells of expansive guitar distortion seems a common format this time out. It feels refreshing.

The eleven songs play so wonderfully for the album experience as the pacing ebbs and flows between its soft and hard edges with plenty of moody melodies and righteous riffs along the journey. The powerful, deep and clearly enunciated voice of Till Lindemann commands the ship on its voyage. I adore his presence, having not looked up any translations, his animated delivery is mysterious and draws one in like a magnet. On occasion I find my own meanings in the drama of his delivery. Then there's the blemish of Lugen, where Till experiments with auto-tune and the results seem.... out of tune? The manipulations are dreadful, untimely, distorting what seemed like moments of personal emotional magnitude. Perhaps that is the point?

Dickie Titten, a title I don't think I'll translate, has another experimental curiosity that I'm not entirely sure works. On the third repetition of its design, these anthemic horns drop in with playful circus vibes. It gives me the impression of having more significance, as is lifted from some historical German song. Anyways, all in all Zeit is a fine construct, a much more "accessible" record with a production that frequently drops the distortion guitars out, putting less emphasis on the heavy, more so on the craft and subtler synth melodies. The good news is the songwriting is fine and its sways from Industrial groove to broody atmospheres keeps one engaged from front to back.

Rating: 7/10

Killing Joke "Lord Of Chaos" (2022)

Its been seven years since the mighty Pylon. Now forty plus years deep into their career, Killing Joke deliver two new songs on a four track EP boosted by a couple of disposable remixes. Although enjoyable for a fan, there is little new hear to be heard. Title track Lord Of Chaos is the grittier of the two Its rumbling textural base guitar throws back to the aesthetics of their early days. Its a typical exchange of meaty groove and dystopian atmosphere they have done over and over at this point.

The second track Total also stems from their 80s output. This one is moodier, with its nightly unease tone drawing from eerie synths when the guitars drop out. When they come back in its with an almighty roaring momentum. Jaz's singing reminds me of their Night Time album. Point being, its good but all has been head before.

The Big Buzz remix brings 90s electronic club music vibes to the Pylon song. Its reasonable but the bass kick thud is rather incessant. Delete In Dub pushes a Drumstep beat through a loose fitting of sound experiments and disjointed noises. It amounts to very little with Jaz's occasional voice the only thing tying it to the band. Ultimately, these two add a little fluff to new music that lacks any originality.

Rating: 2/10

Pop Will Eat Itself "Dos Dedos Mis Amigos" (1994)

This has been a wonderful "of the era" journey, now arriving at its final destination. Although it makes sense, I didn't expect them to land on an Industrial Rock tangent. Reshaping the 90s genre blending style, Pop Will Eat Itself build their eclectic on the backbone of rumbling baselines, cold distortion guitars and a mechanical percussive might. With a colorful infusion of electronic tones it otherwise sticks close to an Industrial blueprint. All except Familus Horribilus, a soap box statement shouted through megaphone raps with the Beastie Boys scent. They take aim at the royal family with political commentaries on the families affairs of the time, naming names and airing grievances at heritage and tax burdens. The instrumental is a fun surge of jive and warmth among a cold, metallic tinged record of subtle rhythmic forces.

Across its eleven tracks the music comes in various shades of intensity and experimentation with some detour into more sample oriented percussive tracks with break loops and the like. Everything's Cool has an obvious riff inspiration from Ministry's classic Thieves. Most remarkable is the opening Ich Bin Ein Auslander. Predating Rammstein by a year, its deployment of the German language and a stomping Kashmir alike riff seems like some bizarre foreshadowing of the Neue Deutsche Härte sound. Surely its just an odd coincidence right?

Either way Dos Dedos Mis Amigos is a decent record if your into the Industrial Rock sound. Nothing exception though, a couple of better songs with a few mediocre cuts too. Its undoubtedly the most consistent in tone, funneled through a production that struggles in patches with its layering of sounds. Which is notably less dense this time around, relying more on the drive of its mechanical rhythms and sharp distortion guitars. I'm aware the band reunited for another record but I'll put a pin in that for now.

Rating: 6/10

God "Possession" (1992)

With a wealth of music just a few clicks away, my reading tangents of band connections, genre exploration and general curiosity is no longer manifesting an obscure list of music I'll never actually get around too. My recent unearthing of Techno Animal's Re-Entry led me to find out what its other half, Kevin Martin, was up to with God! What a band name, I wonder how it had not been scooped up early, perhaps held by some iconic artists. Its competition in the shadow of the church and religion is no cause for a lack of prevalence here, the music rather obscure and unwelcoming.

Labeled as Avant-Guard Industrial Rock and Metal, I thought there is a fair chance of finding some appeal. Sadly these length tangents of manically droning exhaust whats decent and smother it an onslaught of tonal assault that forever meanders on its repetitive structure less form. From its shortest four minutes into the lengthy stints topping out at seventeen minutes, every song hinges on a baseline and drum pattern backbone. It works away, iterating itself at the same tempo incessantly! Then a fog of samples, random noises, distant voices and a zany Jazz Saxophone slowly wash in. Each song finds its flavor, a distinction but they all grind on endlessly.

The Sax performance is rather impressive with some vibrancy and illumination often steered into a maniac frenzy of squirrely notes bordering on mental illness. Its other instrumentation, sometimes pianos, other percussive sounds and shrill sounds, often feel intentionally out of step with the core musical loop. Its result just doesn't spark a magic for me. A couple of songs may have a strong drum groove or meaty distortion guitar lick going for it but when that crops up, its repeated to death.

Don't get me wrong, I had a fair bit of fun with this. The first listen was the strongest with walls of maddening sound a treat to pick apart. The texture and intensity is wild on first glance but once a songs played twice its all to apparent how lacking the depth the project is. The songs have no direction other than to drone and all its ebbs and flows of accompanying madness just seem random and without much intent. Reversing those trends could of yielded but sadly the whole record is a bore.

Rating: 3/10

Killing Joke "Hosannas From The Basement Of Hell" (2006)

 

With a new year comes a ritualistic return to the extensive discography of Killing Joke, a band I've been exploring since this earliest days of this music blog. These English Post-Punk emergents have had a massive influence on the shape of Industrial Rock and Metal to come, Ministry being a keen sample of their ideas propagating to new frontiers. Once finding myself burned out, its now quite a pleasure to return to their particular sound with a new set of songs periodically. This one might be a new favorite in the collection. Released in 2006, it reminds me of my Download Festival poster from that year. They headlined the third stage and given all the cracking shows I've seen over the years in the top spot of the smaller stage. I often wonder what the was like? Sadly I didn't investigate their music until many years later, that's when I noticed they played on that legendary year, my first and unforgettable outing at Donnington!

 Hosannas From The Basement Of Hell is possibly the bands most engulfing feet yet. Riding on a backbone of pounding repetition and dense aggression, the aesthetic crushing of its gristly guitar distortions, beefy percussive strikes and Coleman's aged throaty shouts, caries the music into a hypnotic dimension. With a cold mechanical drive these songs drone with an unshakable pace on lengthy escapades that chew through its crammed assembly of instruments. Often with gusto in its step, the drums pound simple grooves as the guitars roar with uncompromising attitude, chopping up tight chugs and aesthetic marvels of discordant noise and pedal effects. Jaz tends to draw his vocals out, giving a little relief to the unfaltering march each instrumental sets out on. Its a strange chemistry to have two aggressive forces, playing one as relief.

Its fortunate that one can zone out a little with this record. The songs do churn a handful of ideas over and over in the meat grinder. Its atmospheric. Killing Joke have brought a curated collusion of their finest ideas to revel in the moment. If you have got the time, its a pleasure to go through. Every song comes with its own little spice. Invocation stands out for a superb integration of menacing Classical symphonics vaguely reminiscent of Kashmir. Majestic has a riff that gives me chills. The tone and progression almost sounds like a sample from a T.S.O.L. song. Walking With Gods unearths an obnoxious angular guitar noise to ride alongside the massive bass guitar, somehow finding a melodic crescendo to peak the synthetic oddities that arise.

I could go on. The point being each song has a strong intention and musical idea the band hammer out with this intense drive festering in the palm of their hands. The production aids it greatly. 2006 was a time where the loudness wars and wall of sound production still hadn't settled. Records from this era vary in quality and I feel like this was a looser, jostled production that actually aided the final result. A little low fidelity can often suit an agressive direction. Ive read that album is considered a creative peak for the band. If the next two records are not up to scratch, that is fine. Im happy to have found this one. If forced to make a list, Id put it somewhere near the top.

Rating: 8/10

Ministry "Moral Hygiene" (2021)

My first few spins of this record had me in an astonishment I wasn't sure would hold. With my listening pleasures interrupted by a sickness impairing my ability to hear, I now return to Moral Hygiene with that initial exuberance intact. It would seem that forty years as Ministry has armed these rebellious musicians with a craft and voice to boldly express their social-political dissatisfaction with a vigor that reaches back through the years. The new music pulls up shades of many avenues explored before in their back catalog. The result is magnetic, gradually pulling you into its grasp track by track.

Things start gently, brooding a dystopian atmosphere with chunks of grisly guitar melody, echoing shouts roaring over the marching baseline and shuffling percussion. If not for the distinctive use of vocal snippets it could easily be mistaken for a modern Killing Joke track, a band that massively influenced them. The gears then shift up with Sabotage Is Sex. A busy throbbing baseline drives the track forward with a maddening power and groove as Jello Biafra lends his classic voice to the growing criticisms.

The albums theme blossoms as Disinformation samples former president Trump's voice back into the mix to shine a light on the fake news problem we all face in this polarized time. Typically his words are manipulated as are that of various newscasters. Personally I love the dystopian tone and contrast it stirs in the reflection of Edward Snowden's trusting words. Unsurprisingly there is no holding back when it comes to the political sphere with Greta Thunberg and other key voices in the world being sampled in to contextualize the themes that play out in these broody songs.

The Industrial Metal madness plays out over the next few tracks in its various shades. With each spin I'm grabbed intensely as its lyrics and snippets give me much food for thought and reflection. Then things reach a sublime height of madness with the two closing songs. Death Toll marches a carnival baseline groove through Kenneth Copeland's absurd declarations of interventions by God in the annihilation of Covid-19. Contrasted against the rising death toll... Its just a work of art in my mind.

It rolls into TV Song #6 seamlessly to frighten you out of its hypnotic persuasion. Toying with gristly Grindcore blast beats, ridiculous adrenaline fueled instrumentation and noise manipulation, the whole affair ends with a deliberate lack of resolve. Its as if there are no answers to the topics anguished over. The world is in strange place and the solutions are yet to be found. Its chilling but musically thrilling. I'm amazed Ministry came back so strong. At a time when I am thinking of trying to get out of my groove and find new artists, turning this one down would of been an unknown tragedy!

Rating: 8/10

John Carpenter "Ghosts Of Mars" (2001)

From the eternal memories of youth still calls a siren. Blistering through the noise of a late night binge, after crashing in front of the television for early hours entertainment, the music caught me off guard. Initially impressed by the presence of Ice Cube, it wasn't long before my inebriated self was memorized by its mechanized Industrial Metal soundtrack. Within a few songs I realized I was here for the music, as it was clear the zombie Sci-Fi Horror show set on mars was one heck of a flawed beast.

Not John Carpenter's finest moment with the pen or camera but this was my introduction to his accompanying instrumentation. Legendary to all in the cinematic world but this is one rarely mentioned. Since I saved up to get my hands on the CD soundtrack, its called me back to every now and then. Today was one of those days and with the opportunity to ponder on what words I would share here, it became clear that the nostalgia of childhood games and Frank Klepacki's timeless soundtracks to Command & Conquer share an aesthetic and spiritual overlap in patches.

As the complimenting mood setter to a bizarre and dystopian movie, it has to frequently switch temperaments, from action sequence to calms for dialog. This means its 90s Industrial percussive pallet swings into passages of ambiguous, noisy instrumentation and sound design between the barrages of Metal guitar. It does kick off with a bang however! The title track, Love Siege and Fight Train providing thrilling fast paced action and romping guitars fit for the onscreen voilent zombie onslaught.

Its the variety that births some really unusual ideas with Carpenter's collaborators Scott Ian of Anthrax, Steve Vai and even Buckethead! Somehow a little classy cheesed up Saxophone playing is worked in too via Bruce Robb as his playing and lead guitar licks often act as a voice above the brooding bass guitars and rattling drums that make up the hostile landscape. It sways between band performances and electronic arrangements, forging a disjointed soundtrack to a bizarre movie.

I find Scott Ian's contributions to be the best. Big noisy slabs of meaty distortion riffs having the Thrasher work a little out of his comfort zone to birth a couple booming syncopated riffs at the apt time. Its often what everything leads too as we pass through barren landscapes of mechanized percussion and ambiguous synth arrangements. Steve and Buckethead are like ghosts in the wind, alien voices drifting in and out on the way to the next action sequence, where Ian arrives, hitting hard.

As much as I love the experience, I have to be critical, the record is odd and jarring, things sound a little stiff and forced at times as its lead instruments try to meld that classic shred guitar flavor on top of its unearthly electro-industrial fusion. Many of the tracks lack structure and just serve as texture of the on screen tension. For some reason though, none of this bothers me. I think it slipped right into a space of curiosity in my musical journey at a time when I was ready to hear more of a sound I've now explored deeper. I also love the movie, its an odd one that tries to be tongue in cheek. A young Jason Statham is present doing his thing and a then legendary Pam Grier too! This movie tried to be a lot and It didn't resonate with many people. I'm glad to have stumbled onto, its another oddity in my collection that I'm happy to share!

Rating: 8/10

The Crystal Method "Tweekend" (2001)

Four years on from their debut record Vegas, The Crystal Method return during the decline of Big Beat's popularity with a sound somewhat on a similar trajectory to that of Fatboy Slim. Tweekend strides towards the Electronic music scenes of the time with an emphasis on virtual instruments and rock grooves above the bombast of big drum samples, which still have an edge. With plenty of lengthy cuts over six minutes and nothing to ambitious in the way of progressive songwriting, the record serves as a decent mood setter, lively and energetic but not demanding too much of the listener.

Each track tends to have a through line, a backbone that is always present as the arrangements shuffle around the complimenting sounds. There is a lot of them too, these songs are dense and layered with electronic instruments, percussive sounds and synths woven around the beat. The attention to detail holds up. These highly repetitive songs get fleshed out as its drum loops drone on with many instruments and samples taking focus as the lead, jumping back and forth from the limelight. 

Its best songs come with crunchy rock guitar hooks worked in, dropping steady grooves to drive the music onwards. It can often be a noisy affair with its calmer synth sounds being bombarded by all sorts of noises, most common of which seems to be the "off the era" DJ scratches. They kick off vocal samples and slip in lively vinyl sounds similar to that of Limp Bizkit, who would of been on top of the world around this time of this record. Its an element I enjoyed a lot, this album has so much going for it that fits snugly into this era, even though I didn't enjoy at that time.

All in all its no work of art but a competent execution of ideas reflecting the changing times in Electronic music. With lots of spins it has dulled. I fun one to check out but only a couple of numbers demand a return on occasion. I was going to call it quits here but reading up on their next effort, Legion Of Boom, I may have to check it out for the inclusion of Wes Borland and his guitar playing on three or so songs!

Rating: 6/10

Killing Joke "Killing Joke" (2003)

 
One of our first musical journeys of old is that of Killing Joke, which remains unfinished having gotten a little tiring wading through their lengthy and varied discography. The group split after Democracy and then seven years later reunited for this second self titled record which resembles some of the excellence displayed on the most recent Pylon. I was aware of its legend, having brought Dave Grohl of Nirvana onboard to play drums. The two bands historically had a record label dispute over the resemblance of Come As You Are to Eighties. If I remember the story, that have Dave actually discovered Killing Joke, becoming a big fan and offering his services here.

This second self titled offering is a concise construct of crunching distortion guitars and battering drums led by front man Jaz Coleman's commanding presences. He shapes the musics angular, aggressive tone to fit his dystopian mold of political corruption and corporate influence leading us down a path of total control. Practically every song reaches into this topicality, criticizing institutional powers and delving into paranoid, conspiratorial takes on world events. A lot of it is agreeable and some steps a little beyond my own personal acceptance but as an artistic expression the instrumentals illuminate his stance.  Much of it has aged well but a few over reaching tracks like Implant inferring control through DNA and micro chip insertion sound outlandish. Then again we all walk around with personal portable tracking devices in our pockets and most people whimsically send of blood samples to data broker firms in the guise of learning about heritage as well as health.

This theme is one I engage with, it gets me thinking where lyrics are not usually not a key focal point for me, It was nice to have that dimension bring challenge. The instrumentals behind them vary song to song but are for the most part excellent. Blood On Your Hands out stands out as an exemplary song. Brooding Industrial drives of hypnotic force erupts into cyclical intensity as high lead guitar noise wails over looping bass lines. Its the typical affair, big slabs of crunchy sound droning in repetition with verse chorus shifts between riffs. Lots of meaty palm mute chugging rhythms counterpart to expansive guitar constructs that pivot from the mechanical drive into atmospheric plunges. Its pretty much the best of what this band have done over the years rolled up into a new package. Not entirely persuasive if not in the right mood but certainly an impressive comeback record!

Rating: 7/10

Marilyn Manson "We Are Chaos" (2020)

 

With his career revived in its third stint, news of We Are Chaos brought quite the anticipation, despite Heaven Upside Down not having the same lasting power as The Pale Emperor. From the first spin till this latest, this new chapter has had quite the absorbing pull. Now starting to pick out my favorites, all ten of these tracks strive for a similar sing-along anthem spirit as Manson's lyrics hit a stride for his typically striking wording and keen thought provoking lyrics, twisted with a little deviance as his catchy chorus hooks dig like nails into skin, leaving a mark.

One to normally romp with metallic aggression and industrial noise, the bands thick and embellished sound gives way to the tenants of popular song writing. Where riffs and slabs of darkly sound once took the musical stance, keen writing directed by driving baselines, elevated with timely pianos and permeated with moody acoustic guitars. A stage is set for Manson to shine as a front man, his lyrics churning dark and difficult realities into sing along songs is remarkable as hes done it many times before. Without deep analysis, the general mood feels like an amalgamation of his newer personally oriented themes and lesser so, the social commentary.

Infinite Darkness and Perfume stick out as a moment more alike his traditional styling. They fit in well to punch a bit of stomping energy between the indulgence of lighter songs toying with the the now common wall of sound production style where the music is fluffed up layers of sound between its core instruments. Its a good thing, enriching these tunes. In the game of picking favorites, the songs that define themselves do so with flashes of great songwriting from decades gone by and quite the variety of genres and moods these musics have blessed us with. Its hard to pin down even per song but it feels like the band embraced a lot of inspiration.

For me, We Are Chaos now sits in this strange place where I can lavish praise upon it yet as the songs become better known I wonder if its got legs. Over the years many records muster up a big fuss in their freshness only to fade. Some songs here will undoubtedly stand the test of time. If all of them do we could be looking be at a record to fit in among his best. One thing that is for sure, a lot of these songs will fit sweetly into a set list whenever he is amble to resume touring, given the times and all.

Rating: 8/10