OUR LAST ENEMY: PARIAH

(ECLIPSE RECORDS; 2014)

Our Last Enemy album

I gotta be honest here, boys and girls: I have not listened to industrial metal since… oh… the late 1990s or there-abouts, when Fear Factory was tearing it up, in the studio and on the road. Having said that, I gotta be honest about something else: I absolutely love Our Last Enemy’s new album! Now, I don’t know how much this has to do with my liking the record so much, but it is produced by former Fear Factory bassist Christian Olde Wolbers. There are FF references and head-nods (head-bangs?) aplenty, alongside healthy dollops of Type O Negative, Black Sabbath, Ministry, Korn, Alice Cooper and Zakk Wylde’s Black Label Society. That, of course, means that aside from the full-throated growls of Oliver Fogwell (how apt a name is that?) and Matt Heywood and the down-tuned guitars of Bizz Bernius (of Genitorturers fame), there is plenty of metal, hard rock and just plain ol’ rock tossed into the mix to make things truly interesting.

Our Last Enemy, 2013 (publicity photo)

Our Last Enemy, 2013 (publicity photo)

PARIAH is a loose fitting concept album. The “Pariah” is a poor soul who somehow finds himself reborn at the center of great upheavals throughout history, sometimes as a mere witness, other times as the epicenter of whatever crisis happens to be unfolding. This chaotic theme is played out very well – musically and lyrically – by the apocalyptic Australians. For 13 tracks (and three remixes… of which, more later) the often crushing musical feel compounds the sense of misery (and hope for redemption) related in the lyrics. So, let’s take a look at the high points of a very fulfilling album, shall we? The first few tracks are standard industrial metal, but gain points for a few things. “Devour the Sun” is basic pummel-you-into-submission metal with some very cool “horror movie” keyboard accents. The glass-gargling vocals take some getting used to but, by the end of the track, you can tell that they are a major asset to the ongoing success of this band. By the second tune, “Wolves of Perigord,” the concept emerges, full-blown. This song, in particular, showcases the percussive side of Our Last Enemy. Seemingly every instrument – including the guitars – is used as a percussion instrument. Drummer Zot Cillia thunders his way through the track, as he does throughout the disc. The music kinda takes a back seat as the vocals move the story along on the lyric heavy “10.000 Headless Horses.” A creepy, atmospheric video for the tune has been produced by the Blackley Brothers (check it out below). Some biting guitar jabs open up the instrumentation on “Internus Diablos Verni,” giving the song the feel of a heavier Guns ‘n’ Roses. The whole vibe, however, is sorta reminiscent of Black Sabbath… without sounding anything like them. A kinda stun guitar sound (rather like Zakk Wylde) gives “Low” an odd hair band air to it. As always, the vocals and keyboards (provided by Jeff Ritchie) are exceptionally spot on. “Carrion” has a funky sort of Red Hot Chili Peppers thing happening at the start and introduces a synth pattern that wouldn’t have been out of place in Gary Numan’s “Cars.” The pace, quality, and diversity of the music continues to pick up.

The Fear Factory factor comes into play on “Pariah BC,” which also features a disjointed vocal melody that reminds one of Alice Cooper’s late ’80s/early ’90s work (“Poison,” anyone?). There’s more Fear Factory comparisons on “Don’t Look Now,” as Fogwell vocally channels Burton C Bell. The rest of the band adopt a cool Deftones stance. “Pariah AD” is all Type O Negative/Black Sabbath gloomy, doomy stuff… which is awesome! An added bonus is the guitar solo, with a lot of single, bent notes that sounds a lot like “The Ballad of Dwight Fry” from the Coops. “Decoy” is, quite simply, heavy, abusive and stifling. There’s an awesome groove to “What You Say,” with synched melodies from guitar and voice. It also has that big, chanting monks sound that Sabbath used to great effect on more than one occasion. “Ants In the Farm” starts with a nifty, spongy sounding bass line and evolves (de-evolves?) into another FF-like song, with heavy doses of Korn tossed in. The boys saved the best for last. “Into the Light,” with its atmospheric, mostly whispered lyrics (’til at least mid-song). It also features a great, reverb-drenched guitar coda, adding to the funeral dirge menace. Bizz’ guitar takes an exceptionally cool hard rock turn toward the end of the song, echoing to a great sounding piano outro (as these types of songs often do).

Our Last Enemy, 2014 (publicity photo)

Our Last Enemy, 2014 (publicity photo)

And, there you have it… a feast for metal-heads and industrialists the world over. Well… except for… the three “bonus” tracks. Anybody who has ever read one of my reviews over the last 20 years will know that I am not a fan of remixes. Especially remixes of brand new songs. I’m one of those hard-headed people who thinks that if you liked the original version well enough to release it, why mess with it? Anyway, the remixes are for “Internus Diablos Verni” (by Mortiis… I actually kinda like it), “Devour the Sun” (by Angel from Dope Team Cybergeist… uh… yeah… not so much) and “Pariah AD” (by Divine Heresy’s Travis Neal, it’s called a “Karloff Mix” and plays up the horror movie keyboards… I guess it’s okay but… it’s still a remix, right?). For me, that makes 13 (the originals) up and three down (the remixes) but, I guess, if you are into remixes, then that truly is a bonus for you.


BILL NELSON: GETTING ACROSS THE HOLY GHOST

(COCTEAU DISCS/ESOTERIC RECORDINGS/CHERRY RED RECORDS/PORTRAIT RECORDS; reissue 2013, original release 1986)

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I fell in love with Bill Nelson, his songwriting, his voice and his guitar playing in 1977, with LIVE! IN THE AIR AGE, the fantastic live release from his then-current band, Be Bop Deluxe. In the early ’80s, I rediscovered Bill through a pair of commissioned works for the stage – DAS KABINETT (THE CABINET OF DOCTOR CALIGARI) and LA BELLE ET LA BETE (BEAUTY AND THE BEAST), both for the Yorkshire Actors Company – and 1982’s THE LOVE THAT WHIRLS (DIARY OF A THINKING HEART); the second commissioned piece was released as a bonus record with THE LOVE THAT WHIRLS… and stands in stark contrast to the album proper’s poppy New Romanticism. I eventually discovered Nelson’s Red Noise project during a trip to the used record bins at a local shop; I initially passed on those releases as virtually every review I read at the time called it – and I’m paraphrasing here – “A disappointing attempt at electronic dance music.” Anyway, after Red Noise, finding a new Bill Nelson record in the hinterlands of Illinois became an effort in futility; now, nearly thirty years after Red Noise, comes the expanded edition of one of the man’s most well-received records, GETTING ACROSS THE HOLY GHOST (called ON A BLUE WING in North America and Australia). The new edition features a remaster of the original ten-song UK version of the record, as well as a second disc featuring the two EPs culled from the same recording sessions: WILDEST DREAMS and LIVING FOR THE SPANGLED MOMENT.

Bill Nelson (photo credit: SHEILA ROCK)

Bill Nelson (photo credit: SHEILA ROCK)

There seems to be a vague theme running through …HOLY GHOST… , a theme that reminds me of Sunday mornings in a small country town or village. “Suvasini” is a short, introductory ambient piece with a nice jazzy guitar running throughout; it leads into “Contemplation,” which features a snaky kind of guitar, some mid-’80s poppy keyboards and a slinky bass line (courtesy of Iain Denby). Bill’s voice has always been sort of an acquired taste; here, he straddles the stylistic line that falls somewhere between David Bowie and Bryan Ferry. The song itself is very poetic and lyrically dense (as in, a lot of words). The only part I find objectionable is a sax part that tends to ruin the feel of the whole track. “Theology” is closer to the esoteric near-rock of some of Be Bop Deluxe’s more experimental stuff. The number rather reminds me of solo John Foxx or, maybe, a type of Enoesque Ambient rock. Preston Heyman adds an industrial (as in, machinery) percussion thing that is very cool. There’s more of that industrial sound happening on “Wildest Dreams,” a happy kinda tune that also tosses marimba into the percussion mix. You know, I really like Nelson’s more experimental pop stuff but, I gotta say… I really miss his exceptional guitar playing on some of this material; 1980’s style keyboards just don’t do it for me, though there is a great violin solo from Peter Greeves. “Lost In Your Mystery” could have been an outtake from Bowie’s LET’S DANCE sessions. The music has a very Asiatic (in reference to the Continent, not the band) and pre-programmed (it all sounds synthesized) texture and feel; it’s a very laid back song with an equally laid back vocal from Bill.

In its original form, you could listen to those first five songs before being forced to flip the record over to hear the rest of the music. That’s the way I’ve chosen to review the first disc of this reissue, picking up here with the music on Side Two. “Rise Like a Fountain” comes across as an Adrian Belew/King Crimson kind of thing… if Crimson were an ambient band. Iain Denby chimes in with a great (fretless?) bass part, plus… there’s an actual guitar solo (short though it is). There’s an unfortunate BEVERLY HILLS COP/Harold Faltermeyer synth vibe (sorry, folks… great movie, horrible theme song) happening on “Age of Reason.” Nelson’s vocals are pretty good but, I’m not sure they actually save this thing, especially once the Clarence Clemons-like sax bleats (provided by William Gregory and Dick Morrisey) come in. Simply stated, the tune comes off as nothing more than dance music for left-footed mathletes. “The Hidden Flame” continues the dance floor goofiness, though some nifty processed piano and some funky lead guitar somewhat negate the damage. As always, Bill’s vocals are a highlight, as is the stinging guitar solo toward the end. “Because of You” is up next. Now, this is more like it: Great guitar, great lyrics (“Nailed to the cross of love/Because of you”), funky bass; this number could easily have worked as a Power Station song. The album ends with “Pansophia,” a very short (less than a minute) nylon-string guitar solo laced with minimal processed piano and ambient noises. So, in the harsh reflective light of nearly three decades, the first half of GETTING THE HOLY GHOST ACROSS fares much better than the second half, though there’s enough meat on the bones to enjoy this rather dated blast from the past, mostly because… well… Bill Nelson!

Bill Nelson (LIVING FOR THE SPANGLED MOMENT)

Bill Nelson (LIVING FOR THE SPANGLED MOMENT)

And, so, we’re on to the second disc of this collection as we ponder the question: What would a “Deluxe Edition” (or reissue of any kind, really) be without “bonus material?” That material usually manifests as a vault-clearing effort to delve into the artist’s psyche at the time of the recording of the feted release. Thankfully, the minutia that practice entails is eschewed for a more slim-lined package that includes the two EP releases associated with the 1986 album… a total of eleven tracks. Even though the sequencing here is kinda wonky, for the purposes of this review, our exploration will begin with the music from the first of these releases, LIVING FOR THE SPANGLED MOMENT. Following the first cut from the later WILDEST DREAMS record, the seven tracks from …SPANGLED MOMENT – five of which were issued as part of the original English cassette version of the …HOLY GHOST,,, record – follow in sequence. It should be noted that this release is more of a “mini-album,” clocking in at a little less than a half hour. “Heart and Soul” is another synthesized, mid-tempo dance tune, featuring sax and clarinet solos from Ian Nelson. This is probably as stuck-in-your-head catchy as you’re likely to hear from Bill Nelson. Nelson’s minimalist approach to guitar-playing is once again the touch point for the title track, which is awash in various keyboard texturing, a slinky bass part from Denby and another Morrisey sax solo; the track is… okay… just not great. Though brighter in tone, “Feast of Lanterns” comes off feeling like an extension of the main album’s “Pansophia.” This longer investigation of that tune’s themes features some backward guitar alongside some well-placed harmonic guitar swells and ambient keyboard for a little added atmosphere. The result is quite a pretty piece of music.

Bill Nelson (publicity photo)

Bill Nelson (publicity photo)

Illusions of You” has a nice band vibe, very happy and bright. Bill’s guitar is more prominent here than elsewhere, which is a welcome sound; everything seems to come together on this track… except for Ian Nelson’s sax solo, which somehow seems terribly out of place here. With an almost somber kinda Peter Gabriel feel that belies a sprightly Denby bass line and Nelson’s vibrant vocal performance, “Word For Word” is a slow-build non-ballad. A neat Spanish guitar solo gives way to one of Bill’s trademark ambient electric guitar solos. “Finks and Stooges of the Spirit,” besides having one of the greatest titles ever, is quite possibly the best tune from this period of Nelson’s career. It’s an electronic rocker, with a dense instrumental bed menacing just below vocals that border on the dispassionate (think Gary Numan). Since I’ve been a little hard on him, I must compliment Ian Nelson’s woodwinds; they are an integral part of this wall-of-sound production. Bill’s reverb-drenched solo leads into a short duet with Ian’s clarinet, which really adds to the (intentionally) disjointed feel of the number. Like the closer to Side One of the original LIVING FOR THE SPANGLED MOMENT release, “Nightbirds” closed out Side Two – and, indeed, the entire record – in similar fashion: It’s another short ambient soundscape, this time featuring Iain Denby on bass. For pure atmospheric effect, it certainly does a nice job, as it leaves the listener yearning for just a bit more.

Bill Nelson (WILDEST DREAMS)

Bill Nelson (WILDEST DREAMS)

Now, back to the top, with the “Wild Mix” of the WILDEST DREAMS’ title track. You know how I feel about remixes… don’t like ‘em. However, this one seems to have a little more of that industrial percussion that Preston Heyman brought to the original album version, as well as a more prominent bass line and… wait! Is that an extended violin solo from Peter Greeves? Okay… I may actually prefer this version to the one found on GETTING THE HOLY GHOST ACROSS. “Self Impersonation” (or, “Self Impersonisation,” as it was originally titled), which crops up after “Nightbirds,” is another ambient thing with some heavy percussion aspects (this time, by Bill himself, who plays everything on this cut) and just enough soloing and noodling throughout to remind us that Bill Nelson coulda been a big shot rock star guitarist. Up next is another version of “Wildest Dreams.” The single mix is basically the album track cut by a few seconds and featuring a more vibrant high-end (for airplay, doncha know?). It doesn’t sound too bad, removed, as it is, from the entirety of the album. “The Yo-Yo Dyne” is another keyboard and percussion piece, with a cool pipe organ thing happening. Once more, this is all Bill, all the time. The song has an odd, Reggae feel to it – not that Reggae is odd, just in this setting. A nice way to end the record, I suppose, but a tad too repetitive to be allowed to go on for five minutes. As mentioned above, this may not have been my favorite period in Bill Nelson’s career, but there is enough meat on the bone to intrigue.