(ECLIPSE RECORDS; 2014)
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.
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).
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.