Six years have passed since we last heard from industrial metal legends Godflesh; while many things have changed in that period, the English icons thankfully have not. Purge is unapologetically a Godflesh record, and that's precisely what it needed to be — the band's particular streak of oppressively angry music feels more relevant now than ever.
This is a record made by a band intimately familiar with their sound and limits. "Nero," the album's first single and opening track, immediately sets the tone with grinding guitar and malice-drenched vocals. This track quickly grounds the listener in the band's nihilistic world, while the subtle background static that coats every sound further drives home just how bleak that world truly is. From here, the remainder of the record's first half runs through the best of the Godflesh playbook; there are pounding rhythm guitars overlayed with dissonant lead lines, sludgy distorted basslines over hip-hop drum patterns and slower, anxious moments drenched in reverb and atmosphere. It's essentially everything you could want out of a new Godflesh record, but what starts to happen during the second half of this record is what makes it special.
From the opening riffs of "Permission," it's clear something is a little different here; the swirling guitars combine with the drum and bass-influenced drum track to create a trance-like atmosphere that's hard not to get lost in. At this point, things aren't quite as dark as they seem — as the record barrels toward its conclusion, it flirts with that initial darkness on the penultimate track, "Mythology of Self," but there are still hints of light even on what is likely the heaviest track here.
Final track, "You are the Judge, the Jury, and the Executioner," exemplifies this newfound lightness with its cleanly layered vocals taking on an ethereal quality that contrasts nicely with the dingier industrial drum beat. As the track ends, the guitar starts to bleed into itself, feedbacking into a discordant wall of noise before pulling itself back into a single note accompanied by a beautiful chord, creating an uplifting and haunting harmony. This brief excerpt drives home the point that while this is certainly not a "feel good" record, it can make you feel better.
While Purge doesn't break much new ground for the band musically, it feels like a natural step forward emotionally. Throughout their career, Godflesh have released a lot of "feel bad" music, but on Purge, it feels like the band has finally found a sense of catharsis. In the end, this record does exactly what it says it will; it offers listeners a chance to dwell and stew on the darkness in their lives before inviting them to release those feelings; while the relief might be temporary, sometimes that's all you need.
(Avalanche)This is a record made by a band intimately familiar with their sound and limits. "Nero," the album's first single and opening track, immediately sets the tone with grinding guitar and malice-drenched vocals. This track quickly grounds the listener in the band's nihilistic world, while the subtle background static that coats every sound further drives home just how bleak that world truly is. From here, the remainder of the record's first half runs through the best of the Godflesh playbook; there are pounding rhythm guitars overlayed with dissonant lead lines, sludgy distorted basslines over hip-hop drum patterns and slower, anxious moments drenched in reverb and atmosphere. It's essentially everything you could want out of a new Godflesh record, but what starts to happen during the second half of this record is what makes it special.
From the opening riffs of "Permission," it's clear something is a little different here; the swirling guitars combine with the drum and bass-influenced drum track to create a trance-like atmosphere that's hard not to get lost in. At this point, things aren't quite as dark as they seem — as the record barrels toward its conclusion, it flirts with that initial darkness on the penultimate track, "Mythology of Self," but there are still hints of light even on what is likely the heaviest track here.
Final track, "You are the Judge, the Jury, and the Executioner," exemplifies this newfound lightness with its cleanly layered vocals taking on an ethereal quality that contrasts nicely with the dingier industrial drum beat. As the track ends, the guitar starts to bleed into itself, feedbacking into a discordant wall of noise before pulling itself back into a single note accompanied by a beautiful chord, creating an uplifting and haunting harmony. This brief excerpt drives home the point that while this is certainly not a "feel good" record, it can make you feel better.
While Purge doesn't break much new ground for the band musically, it feels like a natural step forward emotionally. Throughout their career, Godflesh have released a lot of "feel bad" music, but on Purge, it feels like the band has finally found a sense of catharsis. In the end, this record does exactly what it says it will; it offers listeners a chance to dwell and stew on the darkness in their lives before inviting them to release those feelings; while the relief might be temporary, sometimes that's all you need.