With a diverse line up already boasting Trivium, Opeth, Within Temptation, Napalm Death, Rob Zombie, Sabaton and Cannibal Corpse, Bloodstock 2015 has unleashed a head-smashing announcement that UK Industrial Metal legends Godflesh will headline the second stage, the Sophie Lancaster Stage on Sunday 9th August. Delain and Fleshgod Apocalypse will headline the Friday and Saturday respectively.
Main support to Godflesh will be UK Speed Metal veterans Onslaught who are enjoying something of a revival these days, and they will be accompanied by Greek Stoner Kings Planet of Zeus.
Elsewhere Bast and Conan have also been confirmed as additions.
Those who have ever witnessed Godflesh performing live in the past, could not have been more delighted after the announcement of upcoming UK tour in August. The release of well-received A World Lit Only by Fire, one of the most anticipated returns in alternative music, whetted fans appetites even further.
When I entered Sound Control in Manchester, I am greeted with a pleasing view of crowd, consisting of metal heads, industrial and core fans, shoulder to shoulder gathered in great anticipation.
Clouds of vapour embrace the equipment on stage, and here they are – two men who influenced bands like Faith No More or Korn, but have forever remained in the music underground.
And it is Godflesh at their best – G.C. Green operates his bass with industrial tool precision, and the legend himself, Justin Broadrick, shreds his guitar in uncompromising manner, filling the room with unmistakable vicious and razor-sharp riffs.
A laptop connected to stage equipment plays ruthless beats that can only means one – a hell of a performance. Around 200 other people rhythmically headbang in approval.
First half of the gig contains purely of new material. And the performance is even better than on the album! The greatest difference make Justin’s vocals. He apologises for throat infection that cause him problems to perform clean vocal parts, but the audience does not mind at all – vocals are much more harsh and brutal than on studio recordings. A delightful and unexpected occurrence.
After performing six songs from the latest album, fans become more animated after hearing familiar notes of ‘Christbait Rising’, ‘Streetcleaner’ or ‘Crush My Soul’.
The gig finishes with encore, long-demanded ‘Like Rats’, on which the audience responds with wild pogo dance. To wrap up Godlfesh great performance, Justin Broadrick give improvised display of guitar cacophony. Combining with creative stage lighting this turns into a spectacular finale.
Mr. Broadrick nods and discretely exits the stage. A monster in average Joe skin.
But satisfied fans, slowly leaving the club, are left with fantastic memories of one of the most non-average performances in Manchester this year.
…And so we continue with our countdown of the Official Ghost Cult Top 50 Metal releases of 2014 by bringing you Albums 15 to 11. As we get closer the top, the sheer unadulterated quality of the albums covered is astounding, and every one of our Top 20 should proudly sit in your collection already. And if it doesn’t, you should get investigating immediately…
15. GODFLESH – A World Lit Only By Fire (Avalanche)
Joining the growing list of bands who have returned from a leave of recording absence in style, Justin Broadrick resumes where he left off thirteen years ago, delivering dissonant, nihilistic, industrial cold post-metal. Innovators and leaders to a previous generation of bands, Godflesh returns with metallic precision and destructive poundings.
https://www.youtube.com/watch?v=3PqXB-u4j04
“The crushing landscapes of Streetcleaner (Earache) are recalled in the merciless dehumanised beats yet the harshness of the eight string guitar has taken this unforgiving creation an even blacker more disturbing feel. The momentum never lags throughout this fearsome monolith feeling urgent and vital throughout. It may be their first full length in thirteen years but every fibre of the bands DNA has mutated into an even more virulent strain of post-Sabbath paranoia whose icy claws cannot be escaped.”
Extreme doom has never been in a healthier or more prolific state, and is a scene with a surfeit of reeking repugnancy spread over a growing horde of performers. Oozing themselves to the very peak of the sludge mountain is Chicago’s Indian, with a release that tests the very limits of just how hideous a piece of music can be and still be appreciated. Essential art, manifested as abhorrent compositions.
“Over the course of 39 harrowing minutes, Indian attempt to batter the listener into submission with a ceaseless barrage of spiky sludge riffs that aren’t afraid to repeat themselves to make their point well and truly felt, percussion that hits as hard as a drunken preacher taking his belt to a cowering sinner, horrible harsh droning noises that sound like a possessed radio broadcasting live from Chernobyl, and all topped off with Will Lindsay’s throat-shredding howls and screeches.”
On Heritage, Mikael Åkerfeldt led his Swedes away from a technical Death Metal past towards the Prog Rock light. With Pale Communion, transition completed, he perfects the marriage of Opeth and their new slant, constructing a beautiful, reflective, warm and overwhelmingly natural album that speaks in an altered, more progressively refined tongue to the previous voices of Opeth.
“Fast forward three years and Pale Communion is, in many ways a continuation of such a direction, but one that see’s Mikael’s uncompromising view drawing more clearly into focus. Harking back again to the late 60s and early 70s this eleventh studio opus features fluid dexterous drum patterns, moody distorted organ work and another all clean and highly proficient performance in the vocal department. Where Heritage felt somewhat disjointed on occasion Pale Communion is richly woven into a tapestry of ornate and complex elements rather than flitting from one genre to the next.”
Like one of their own dark, weighty epics, Yob’s career is slowly unfurling, opening out as expansive riffs draw out of the dark, and slab-heavy tones meld Post and Doom Metal. Yob’s previous two albums, in particular, have been preparation for this career defining opus, where the permutations of delicate beauty and unsubtle heavyweight guitars are woven skilfully.
“Clearing the Path to Ascend begins by showing a return to the inventive aspects of …Cessation with a gently repetitive chords, and mellifluous tones riding a colossal riffs that move with the speed of a tortoise. All four tracks far exceed the ten-minute mark yet none here exceed their welcome. Combining the best aspects of the band’s aforementioned last albums this is a perfect blend of weight, hostility, melody and ecstasy, and will need many plays to yield its full array of splendour.”
While predecessor Path of Totality (fortunately not a dub-step album, like Korn’s of the same name)) was a great album in its own right, it is in 2014 that songwriter Mike Hill, backed by a crystalline production by Erik Rutan, has finalised the blueprint of how to merge granite flecked post-Metal with rusted Black Metal, bathing us all in cold, exacting, current, intelligent and hostile extreme music, where the caustic overwhelms.
“Savage Gold, the third album from Brooklyn quartet Tombs, is certainly no easy listen. Since their debut release Winter Hours in 2009, the band have attempted to show just how black and post-metal should go together and once again stand head and shoulders above the competition, for Savage Gold is a triumph in visceral aggression and brooding atmospherics.”
Chicago instrumentalists Pelican is set to release a new EP via Southern Lord in February 24, 2015 around new reimaginings of “The Cliff,” off their 2013 Forever Becoming album.
The four track EP includes remixes from Justin Broadrick (of Godflesh, Jesu), Aaron Harris and Bryant Clifford Meyer of ISIS/Palms, and, for only the second time in their fourteen year career, vocals. Allen Epley (Shiner, The Life and Times) will be contributing his voice once again. He previously contributed to “Final Breath” on 2009’s What We All Come To Need. Listen to “The Cliff” (vocal version) here.
The Cliff Track Listing:
1. The Cliff (Vocal Version)
2. The Cliff (Justin K. Broadrick remix)
3. The Cliff (AH & BCM remix)
4. The Wait
Throughout his career, Justin K. Broadrick has never been willing to compromise his artistic vision. From the beginning Godflesh laid the groundwork for everyone from Fear Factory to Isis, carving out harsh landscapes of metallic industrial noise steeped in the grim and filth of the Birmingham factories that surrounded them. Since the band’s hiatus from 2002 to 2010 Broadrick indulged his creative muse by lending his talents to ambient music (Final), Techno Animal (Hip Hop) and shoegazing post metal act Jesu.
A World Lit Only By Fire (Avalanche Records) is as bleak and apocalyptic as its title suggests. Swan song record Hymns may have used real drums and incorporated further melodies but this is the sound of Broadrick returning to the harrowing, coldness of old with just his old running mate G.C. Green and their trusty drum machine for company.
The crushing landscapes of Streetcleaner are recalled in the merciless dehumanised beats yet the harshness of the eight string guitar has taken this unforgiving creation an even blacker more disturbing feel.
While this approach will undoubtedly excite fans of the band’s early works this is no mere exercise in nostalgia. The use of eight string guitar has aided the development of the band’s penchant for dissonant minor key melodies strung out over visceral minimalist beats which drive the band’s point home perfectly.
The churning riffs of ‘Life Giver, Life Taker’ and ‘Carrion’ give whole new meaning to relentless nihilistic aggression harnessing the atmosphere of their earliest works while retaining a feel which is unmistakably contemporary.
No quarter is given through this punishing ten song assault. The brutal repetition and feeling of emptiness is embodied greatly on closer ‘Forgive Our Fathers’ where Broadrick alternates from drill sergeant brutal screams to wails of torment that echo true desperation in a way that is almost too close for comfort.
The momentum never lags throughout this fearsome monolith feeling urgent and vital throughout. It may be their first full length in thirteen years but every fibre of the bands DNA has mutated into an even more virulent strain of post-Sabbath paranoia whose icy claws cannot be escaped.
The worst kept, non-secret of the heavy music world this year was that Godflesh was going to release a new album in 2014, their first in 13 years. A World Lit Only By Fire is coming out on the bands own Avalanche Recordings label on October 6th. This highly anticipated album marks the full on collaborative return of industrial/post-metal pioneers Justin Broadrick and GC Green. The band plans a lot of touring behind this release, the first dates of which will be in the UK this December.
You can hear the preposterously heavy debut track ‘New Dark Ages’ on the Godflesh Soundcloud page:
On the strength of the powerful Decline and Fall EP, the fan base of the pioneers of several forms of music were offering us just a glimpse of what was to come on this new album from the sound of New Dark Ages. From our review of the Decline and Fall EP, Ghost Cult Magazine Senior Editor Ross Baker wrote:
“Visceral, focussed and harrowing the eerie harmonies compliment the driving rhythms and wounded vocals. As bleak as anything the band has ever recorded with scant regard for any musical evolution other than their own, ‘Decline And Fall’ is a more than worthy taster for any upcoming full length for which expectations have now been raised even higher!”
A World Lit Only By Fire Track List
1. New Dark Ages 2. Deadend 3. Shut Me Down 4. Life Giver Life Taker 5. Obeyed 6. Curse Us All 7. Carrion 8. Imperator 9. Towers of Emptiness 10. Forgive Our Fathers
A World Lit Only By Fire December Uk Tour Dates
Tue 09.12.14 The Haunt Brighton
Wed 10.12.14 Garage London
Thu 11.12.14 Rescue Rooms Nottingham
Fri 12.12.14 Sound Control Manchester
Sat 13.12.14 Art School Glasgow
Blut Aus Nord are one of those bands whose discographies should come with a map. Starting off with an atmospheric, expansive approach to Black Metal, they’ve spent two decades letting that approach lead them through a variety of approaches and styles, each united by the same cosmic aesthetic and adventurous spirit.
Their contribution to the Triunity (Debemur Morti) split shows them operating in a similar territory to 2007’s Odinist, but with a much greater reliance on structure. The more Metal moments of the first 777 album also spring to mind at points – thick, almost chugging guitars overlaid with haunting, progressive-minded leads and processed vocals. What’s interesting here is how much ground they’re able to cover in just under twenty minutes – the three tracks run together into an expansive whole which manages to be both heavy, introspective and surprisingly aggressive in parts; a great bite-size introduction to the band, and a perfect confirmation for fans that they’re still pushing their own distinctive musical vision forward.
One of the problems with splits is often that the bands are too similar in sound – Triunity avoids that by picking two acts who share aesthetic qualities but are musically quite distinct. With repetitive processed guitars, clipped mechanical vocals and sinister ambient noise, P.H.O.B.O.S most readily call to mind early Godflesh if they gave up on all that urban decay business and looked to the cosmos. “Industrial” – surely among the most abused words in music – is a good enough fit here, but this is an eldritch, half-tangible factory in the middle of a desolate spiritual wasteland, staffed by ghosts endlessly working at machines whose working conform to no known principles of engineering. Possibly making things for Argos.
Of the two sides, BAN’s is the most accomplished and satisfying in itself – P.H.O.B.O.S rely perhaps too heavily on repetition, and over such a short length can seem a little hollow – but Triunity shows two bands offering a similarly mystical take on two different styles, and is an engaging and captivating listen either in parts or taken as a whole.
Justin Broadrick has always been a mover and shaker. Active in underground music with many projects from the Drum ‘N’ Bass assault of Techno Animal to Final’s ambient elect-drone, the Birmingham musician is a key underground figure whose influence can be felt from Fear Factory to Isis. Reforming in 2009 having played a smattering of shows but little more Broadrick has finally birthed a new four song EP from his most famous musical endeavour with the promise of more to come. Before the Brummie industrial icon can dish out the punishment it’s time for Alt rockers Loop to woo the audience with their droning riffs and throbbing bass. The venue is just over half full as but the band still receives a positive reaction with many shaking their bodies in time to the rhythm. Relying heavily on repetition you found yourself swaying in time to the soothing molasses of feedback. Hypnotic and alluring this trance inducing spectacle is fine for a kick off but nothing prepares you for the harrowing sounds of urban decay that follows.
The stark contrast between the terrifyingly bleak and nihilist sounds of Godflesh from Loop’s warm psyche could be felt by all in attendance. Justin Broadrick’s scowls intensely while thrashing at his guitar and bellowing like a wounded animal. The hour and ten minutes over which Godflesh inflict their scathing assault upon the bewildered crowd is as claustrophobic as is it compelling. The catacombs of The Cockpit cater for Godflesh’s Molotov cocktail of neurosis over grim industrial sounds.
New number ‘Ringer’ is dished out early and gratefully received by a crowd many of whom probably felt they would never hear a new Godflesh track. Material from the newly released Decline and Fall EP is foul and depraved, harking back to their early material without being an exercise in hopeless nostalgia. ‘Like Rats’ and the bruising ‘Christbait Rising’ are dispatched with frightening efficiency sounding as vicious and life affirming as ever. Crushingly devoid of humanity save for Broadrick’s anguished tones, no intensity has been lost in the thirteen year absence between recorded works.
Following 2012’s spread of shows opening for Neurosis and tearing it up Damnation Festival it had appeared Justin Broadrick was going to focus his efforts on his JK Flesh and the shoegazing soundscapes of Jesu. Fortunately that turned out only to be a diversion and while this new release, Decline and Fall (Avalanche), from the seminal industrial metal project may only be a four song EP it is a worthy release which stands up against the cannon of punishment to which Godflesh has given birth. This may be the first Godflesh release for 13 years but any preconceptions of rust or decay can be laid to rest immediately. All the hallmarks this Birmingham outfit are visible for all to see. Like ugly scars which have been left weeping and festering tracks like ‘Dogbite’ exude all the paranoia and intensity which brought Broadrick to the dance. Snarling vocals atop icy electronics and a maelstrom of ostinatos which pulverise your brain to mush.
It’s an unsettling and deeply harrowing experience but frankly the twenty minutes of music present on this release fly by such is the immersive nature of the material. Guttural bass ushers in the bruising ‘Playing With Fire’ which is as frosty and unwelcoming as anything on the band’s Streetcleaner (Earache) debut. Tim Parson’s contributions to the band’s latter work fit well enough with the band’s modus operandi but Broadrick has made an effort to separate his projects more effectively by going back to basics with the drum machine supplying all the percussion. On reflection it is a gamble which has paid off in spades, this EP is quintessentially Godflesh something which will surely delight the band’s existing fanbase although that is something which will be of scant regard to the man in question. Visceral, focussed and harrowing the eerie harmonies compliment the driving rhythms and wounded vocals. As bleak as anything the band has ever recorded with scant regard for any musical evolution other than their own, ‘Decline And Fall’ is a more than worthy taster for any upcoming full length for which expectations have now been raised even higher!
A band like Invertia doesn’t come along every day. Very few bands today make music that is both challenging and challenging to the listener. Uncommon in style and mentality, the band is more like a force to be felt all over the senses, rather than just music to be heard. When we last heard from the band a year ago the creators of “Oppressive Industrial Black Metal” as they term themselves had just released their excellent debut. They have returned with their new album, Another Scheme For The Wicked (Ohm Resistance) with a leaner, meaner collection that shows the growth of this discordant, unhinged pair from New England.
Split between five originals and five remixes, Another Scheme for the Wicked has quality where it may lack a bit in quantity. The opening track ‘The Sidewinding’ is by far the best track in their existence; full of menacing riffs that would make Ihsahn blush, a phenomenal use of stop-start dynamics. There is also a great batch of samples in this track, and I won’t soon hear the line “Jesus is about to come…” the same way again. Second track “Cross Eyed Christ” blends machine gun beats with the best of avant-garde angular riffs. Dave Coppola has created some of the most inventive licks we have heard this year and his scowling maw unleashes some sick gutturals. Drummer Tim Winson keeps things uptempo for the most part and intense bringing in the electronics and beats. ‘Void of Community’ and ‘Hourglass Without Sand’ are a crazy amalgam of brutally and sublime writing. ‘They’re Everywhere’ sounds a lot more raw and lo-fi, like the work on their earlier efforts, despite the 300 bpm tempo and more howling vocals.
The real surprise comes with the remixes. The opening track is recast by none other than Justin K. Broadrick of Godflesh and Jesu. He is an inspired choice. The band clearly takes some of its cues from Broadrick and for his lot, he totally re-imagines the track into a new experience. Laconic and dreamy- it sounds like an out take from a David Lynch film, replete with slowed down to a crawl vocals. It also says a lot about this band that Broadrick would work with them, as he doesn’t give this treat ment to just anyone. Other re-mixers, big names from the Ohm Resistance label and the electronic underground such as End.user and R3TRD, have solid results too. Special note also goes to the post-apocalyptic sounds of Submerged’s remix of ‘Hourglass Without Sand’.
