Noir Mind's Reviews
It is unlikely that this band will ever go down in history along with its inspirers Ministry and Nine Inch Nails, because the industrial metal genre is dead as such and is kept alive by a handful of old school imitators, but you can still come across frashblood, worthy of its predecessors and capable of showing old Reznor how a machine heartbeat sounds today.
This release is a good example of how industrial metal should sound today. Of course, the lyric component of the tracks is relatively sterile and does not move beyond the familiar problems of modern society, highly generalized in the verses of Alexis Mincolla in the sauce of cyber-apocalyptic horror, but vividness of the allegories is really impressive, despite a certain abstractness. Combined with the mechanical voice of the vocalist, these lyrics conjure up vivid visual images, immersing the listener in their demonic dystopia, where nothing human is possible.
The appropriate use of many samples and the abundance of distortion, which does not cut your ears with the quality production of this record, is also pleasing. From the minuses, in some tracks the drums sound unconvincingly, as if banging on plastic. However, it is compensated by the atmospherically excellent keyboards, dense guitar riffs and sexy voice of the vocalist, timely switching to a rolling scream.
Especially we want to note the track "Away From Me" with its apocalyptic trumpets in the intro, devilish meat grinder "Pit Of Fire", melancholic soul scream "Voiceless" and intriguing, infernal, semi-instrumental track "Divine Weapon".
As a fan of NIN, I am very pleased to see that even now industrial, even if it has lost its relevance, is alive with bands like 3TEETH, who don't just build their work on tired templates, but also bring fresh elements of their own to the genre. 7/10
I, unfortunately, was not previously familiar with the work of this group, and I was attracted by a specific mixture of black metal and symphonic industrial, which was listed in the tags of the album. I expected something like a mix of Neurotech, Septic Flesh and Dimmu Borgir, but I got... something more. The combination of the mechanical percussion section, dark black metal riffs, gothic keyboards - often presented by organ sounds - and space themes creates a unique existential vibe devoid of the cybernetic nonsense of Neurotech, the pathos of Septic Flesh and the vulgar satanism of Dimmu Borgir.
This album seems to me a serious, multifaceted work, which surprises the listener in each track with various experiments, whether it is methodical pagan percussion of "Rain" and "The Ones Who Came Before", dramatic but not vulgar organ vampirism of "Angel's Decay", sensual, like dark fairy tale, "Moonskin", or epic futurism of "Jupiterian Vibe". But even with all its technical and melodic variety this album seems to me not just a set of songs, but an integral work with thematically connected tracks, only some of which seem to be fillers. Unexpectedly successful for its originality this is the record I recommend to everyone who is tired of the sterile noise of black metal. 8/10
For a newcomer to the industrial metal genre, it's hard to think of a more accessible and, I won't dare say it, "edible" album. Just as we used to google after playing NFS to find out who the geniuses were who composed "The Only", the new generation of teenage alternative lovers of the noughties will be among the first to listen to this album on Spotify.
Many metal nerds will call it pop, but in fact, it has everything we love alternative industrial metal for: fat guitar riffs, tight mechanical rhythm section, driving vocals, and an abundance of keyboards, which creates a cyber-urban industrial atmosphere. We'd like to highlight the most incendiary tracks "Kill Your Idols", "Destroy All", and the epically melodic "So".
Though Static-X with their eternal "Otsego..." semi-hits are not the most experimental and diverse band, but this time they managed to create an album full of hits for rhythmic and melodic head bobbing to them. Recommended to every newcomer of industrial metal. 7/10
P.S. My mother says that the beginning of the track "Control It" sounds like a door creaking. Have you noticed that too, or is she delusional?)
