Fear Factory - Soul of a New Machine - 55:13 - 1992
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When you loaded this page, I was listening to:
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Fear Factory - Soul of a New Machine - 55:13 - 1992 |
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For 92, this is pretty good stuff. That's not to say that it's dated by today's standards either. And at 17 songs, this CD is pretty packed; you can't complain about that value. The music is fast, and from time to time reminds me of Godflesh if you played them on 78 (really fast for you young-uns out there). The vocals and some of the music is like Napalm Death. Unfortunately, the pace is full on for the duration, which without a break, gets a little tiring after a while. (look to Sepultura for perfect pacing) Also, the song structures aren't very interesting for the most part. | |
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Fear Factory - Demanufacture - 55:19 - 1995 |
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Holy crap, this is fierce! If you like your shit fast, this is for you. Epileptics and people with heart conditions need not apply. The drum beats are faster than a tommy gun on the Godfather, and it's like that for the duration. If it's not a machine, Raymond H. has got to be one healthy som' bitch. Even though all the songs on the CD are similar to each other, it rocks with a vengeance. FF assaults you with very sharp, crisp, and fast blast. Everything is in milliseconds with no sustain. Also, F.F. incorporates keyboards into their music that fits perfectly - no cheesy old movie samples. | |
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Fear Factory - Remanufacture - 64:47 - 1997 |
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I told myself a million times that I would not buy this CD, because 9 out of 10 remix albums are always disappointing, but the wait for Obsolete was too long, and I just couldn't take it anymore. Well, the old theory still holds true as this was less than exciting. Unfortunately, besides the cover art, there's not a lot going on that grabs your attention. On the other hand, I don't want to come off to hard on this one, because although the remixes are somewhat lackluster, they are not bad. Ultimately Remanufacture falls short of the majesty realized by it's mother CD, Demanufacture, but at the same time, it does serve as descent filler for the long hard wait for new music. | |
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Fear Factory - Obsolete - 48:59 - 1998 |
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Demanufacture was such a phenomenal CD, it's a hard act to follow, and although I am just a little disappointed, it's not that much of a departure. They've slowed down somewhat overall, and deliver deeper, soulful, cuts, and there's even a bit of crooning, but don't be alarmed, it's not like Load. I don't want to scare you off too bad, because there's still lots of aggression and angst festering on this concept album that tells the story of man versus state in the not so distant future. A few tracks remind me of Meshuggah, which usually it's the other way around. It took some getting used to, but the heavier sound has grown on me. | |
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Fight - War of Words - 59:24 - 1993 |
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Damn, this was a surprise. Rob Halford of Judas Priest, who I've never liked, rounded up a couple of kids to be in Fight, and I'll be damned if it's not pretty good. For a senior citizen, Halford kicks ass. Also, he only squeals in that Iron Maiden style that everybody used to use on about 3 songs. There's a bit of a lull in the middle, but it soon picks back up with some of the best stuff. Finally rounding out the end is a rather interesting "Jesus Saves" song. The sound quality is excellent, and I find there's something pallet cleansing about this CD. Also of note is a remix tape that was available for $3. ( Foetus does one) | |
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Fight - Mutations - 45:56 - 1994 (93-94) |
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The first album was such a surprise, and the remixes were so good that I decided to push my luck and check out this CD, which features 4 live tracks and 5 remixes of songs off "War of Words". Well, as fate would have it, I (or should I say, they) scored another hit. The live tracks are great and like the other album have outstanding sound quality. I'm not sure what it is about, no maybe I do know what gives these guys such a big powerful sound. I think it's because the Guitar and Bass do pretty much the same thing at the same time in grungy burst divided with negative space on each end. | |
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Fishbone - Fishbone - 26:37 - 1985 |
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When I saw the video for "? (Modern Industry)" I just about went nuts. Here was this band that somewhat resembled a black ska version of Devo. I rushed out in search of their album, which no one had any idea what I was talking about, and actually ended up taking a year to find. It was worth the hunt, because this was a great album. It is mostly ska influenced, which is what I wish they would have stayed with, but that's ok. The song "Party at Ground Zero" is on here, which for some reason has been used in more bad movie trailers than I can count. | |
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Fishbone - In Your Face - 33:50 - 1986 |
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Fishbone is one of the best bands that never really made it. Well, maybe that's not entirely true, there was a period where all the college kids had the Fishbone logo on their Grand Cherokees. They came real close, but not quite. When this came out I was disappointed, because the first e.p. was so good, and this one didn't quite follow the same direction. But, now that I'm a cranky old man, I appreciate this CD a bit more. It's more mellow than I care for from them, but It's still pretty good. Fishbone give off a refreshing air musical sophistication and passion. All that, blue mohawks and pork pie hats. | |
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Fishbone - Truth and Soul - 41:40 - 1988 |
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Truth and Soul is probably the most accessible, and well rounded of all the Fishbone releases. It starts off with a pretty hot cover of Mayfield's "Freddie's Dead", a classic story of the addict's lament. What follows is a wide range of songs that very greatly in style and speed, and range from fun party lyrics to deep soulful content ala' Mayfield and Gaye. One of my favorite songs is "Ma And Pa", which tells a tale about a family going through an ugly divorce, and it's impact on the kids. You might say, Fishbone is a Funky Ska band that doesn't play Ska. | |
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Fishbone - The Reality of My Surroundings - 59:42 - 1991 |
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Much like the last one, with the exception of the last song, this CD never really grabbed me. Not that it's bad, well one song is, but other than that. After a 5 year incubation period, it's sort of taken root, and I enjoy it now. Fishbone is, if not the most obvious, then the most successfully Curtis Mayfield influenced band. Fishbone's songs are soulful, social, fun, singable and you could never accuse them of selling out. They have always done their own thing, and done it well. | |
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The Flying Lizards - Top Ten - 48:28 - 1985 |
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The Flying Lizards is basically one man (David Cunningham), who has the company of one woman (who is not always the same person), and sometimes a few bit players. The concept is, in most cases: light industrial, awkward keyboards playing choppy tunes to a woman with a very dead pan British accent who speaks the lyrics rather mater of factly. In the case of Top Ten, the songs are interesting (to say the least) interpretations of a variety of songs that formerly were known by other artist such as Jimi Hendrix, Little Richard, James Brown, and Tom Jones. I used to like this a lot more than I do now, but the humor has worn off. | |
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Scraping Foetus off the Wheel - Hole - 42:50 - 1995 (83) |
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Fucking brilliant! I very rarely pay attention to lyrics, I mostly just consider the voice as just another instrument that you can often unmercifully "play along" with. However, in the case of Mr. Thirwell, I definitely take note. His lyrics are like Hard Boiled Detective novels, and quite eloquently detail the dark corners of the disturbed mind. Also, the music is almost as diverse as the Beatles. It toys around with a variety of musical genres, none of which you would necessarily associate with the dark form he shapes them into. Similar to Rob Zombie, Thirwell also does the art associated with him. "The inscription on my tombstone reads "wish you were here"" | |
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Foetus - Thaw - 39:41 - 1988 |
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Yet another masterpiece, Foetus has got the most elegant ability to turn the simplest things sinister. This CD may well be the most tight and slickly assembled production he has done. His music is like theater, propaganda, and a view from the eyes of a serial killer. "Asbestos" is a great sound collage that uses a lot of classical and a little ELO to craft a creepy athmosphere. There are more great lyrics, like "the light at the end of the tunnel is a freight train coming my way", and some cool east Indian influences. As mentioned above, he is also an impressive artist with a very slick graphic art style that could find him work at any ad agency. | |
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Clint Ruin/Lydia Lunch - Don't Fear the Reaper - 16:55 - 1991 |
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Two underground icons, and one time lovers, join together on this stinky little EP. The title track, obviously is a cover of BOC's biggest hit. And although it seems like a good idea and the music is not too bad, the vocals are wretched at best. It's reminiscent of Siouxsie & Morrisey. These two were meant to talk and scream, not sing. The second song is a more up-tempo tune that is typical Foetus, with a touch of Lunch. The 3rd is a somber one that is more Lunch. The last song is a really annoying interpretation of the Beatles "Why Don't We Do it in the Road". I prefer their collaborative efforts in "The Right Side of My Brain". | |
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Wiseblood - P T T M - 25:28 - 1991 |
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Always trying to keep his consumers confused, Wiseblood is Jim Thirwell, Clint Ruin, Foetus (all the same person) and Roli Mosimann, who's other single "Motorslug" was a song that had some small impact on me. Generally speaking, this EP is classic Foetus and a good general representation of his talents for ingenious music, deliciously malicious lyrics and wonderful sound collages. "Pedal To The Metal" has a loungy, big band, swing sound balanced with his seedy carnie narrative. There's one downside, and it's one that is unfortunately, also representational of Feotus' bad side. Track 3, it's boring and it's 10 minutes long. | |
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Foetus - Gash - 62:55 - 1995 |
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The multi-alias Foetus is kind of a Cab Calloway/Tom Waits rolled into a Jim Morrison driving a dump truck. His genius has been around and largely unnoticed for a long time, but I think it's time he move on to different vistas. He's been doing a lot of soundscape, sampling collage material lately, which he is a master at. I think he should look that direction or maybe produce and remix, because the unique style of music he's been doing for years has run it's course and it's largely taxing to listen to now. | |
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Front 242 - Back Catalogue - 70:29 - 1986 |
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Back Catalogue, as the name implies, chronicles Front 242's work from 1982 to 1985. Coming out in the boom period for this style of Wax Trax techno/industrial, it sounds little like middle period Cabaret Voltaire. Although some of the early tracks prick your ears a bit, most of the other stuff just serve to remind you how unmemorable most of this genera was. Sometimes computers make it too easy for boring people to express themselves. (present company excluded ) | |
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Fudge Tunnel - Creep Diets- 45:48 - 1993 |
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I don't know a damn thing about these guys, but I have three of their CDs. Fudge Tunnel has a really cool, raw and very brash sound. They're a little like Helmet, and a little like Big Black, and most like Quicksand. But, they do have a distinctive sound that with guitars that sometimes sound like garbage cans rattling in a tunnel. They are also quite catchy in a strange way, and I think if they didn't have such a prohibitive name they would probably be much more popular. But hey, even the Butthole Surfers finally became a household word, stranger things have happened. | |
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Fudge Tunnel - The Complicated Futility of Ignorance - 62:38 - 1994 |
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Since my last report, I've studied up on Fudge Tunnel just a little, and I can tell you they are an English "power trio" fronted by Alex Newport, who is a multifaceted guy who has collabrated with many bands, including Nailbomb. Like I said before, they are kind of like Helmet, without the negative space. "...Futility..." is a more aggressive CD than their previous works, and with some pretty hooky groves, comes more accessability. Each CD they turn out gets a little more polished than the previous, which is a natural progression that does'nt always happen. | |
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Fueled - In The House Of The Enemy - 50:17 - 1997 |
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Fueled is basically a rock band with a dose of post industrial flavour, that is Reminiscent of bands like Skrew or Grotus. At first, and only for a fleeting moment, Fueled doesn't seem so bad. However, with each new song, my patients run thin, then eventually - out. These guys just really get on my nerves by about the 4th song, mostly due to the vocals that are sort of like a bad mix of Helmet and Crowbar. And I think it's the pitiful attempt at being Godflesh on "Stained" that is the final straw. From bad samples to mind numbingly stupid lyrics, Fueled has got it all. If mediocrities killed the cat, then these guys reek of pussy. | |
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