Fear Factory -Demanufacture

Thu 29th Dec, 2005 in Music Reviews

Having redefined the boundaries of grindcore with their 1992 sophomore album, Soul Of A New Machine, Fear Factory would eventually redefine the boundaries of the metal genre with their 1995 benchmark Demanufacture.

Forming in Los Angeles in 1990, Dino Cazeras (guitars) and Raymond Herrera(drums) were soon joined by Burton C. Bell (vocals) and would go on to record their debut album with producer Ross Robinson (Korn/Slipknot/At The Drive-In), which oddly would not be released until the bands demise in 2002 due to legal issues (the group would reform in 2003 without Cazeras). Sophomore effort Soul Of A New Machine showed a huge progession from the debut with some songs being re-recorded, this time with uber-producer Colin Richardson(Machine Head/Carcass) behind the desk. The sound was unlike anything on the metal scene at the time. Grindcore growled vocals mixing with actual singing/crooning over metronome precise drums and Dino’s huge guitar and bass parts with a dash of electronics.

1993 would see Fear Factory step up the electronic component by employing seminal indrustrial act Front Line Assembly to do remixes of Soul Of A New Machine material for an EP called Fear Is The Mindkiller. This EP showed that along with Ministry, Fear Factory were at the forefront of the industrial metal movement.

Securing a full time bassist in Christian Olde Wolbers via a connection with Biohazard (Evan Seinfeld had suggested him as Dino had recorded all studio bass and they were using temporary bassists live) they proceeded to write and record what would become the groundbreaking metal release of 1995, Demanufacture. Once again the band enlisted Colin Richardson for production duties though differences of direction would cause Front Line Assembly’s Rhys Fulber to round out the job. Rhys was also contributing to the keyboard playing on the album. Demanufacture showed an even greater sound progession from Soul Of A New Machine than it had from the still unreleased debut. Everything that had made Fear Factory unique had been stepped up considerably. The drums were more precise, the guitars sharper and the vocals sounded as cold and clinical as a machine. Demanufacture sounded like it was the first metal album written and recorded by a computer. Lyrically the band had moved away from their grindcore/political roots and had moved into the realm of concept. The theme was partly based around Joel Schumacher’s film Falling Down and James Cameron’s Terminator series. The concept revolved around the fall of mankind to the hands of its creations, the machines, who were slowly taking mans place(this would also become the backbone of The Matrix franchise). This story arc would be continued over the next two studio albums becoming the band’s creative lull and part of the reason for their initial demise.

Opening with sound of clanging metal title track Demanufacture soon sets the tone of the album with a barrage of double-bass drumming and furious jagged riffing before Burton’s controlled rasp whispers in the vocals. The pace remains for second track Self Bias Resistor before the brooding intro to Zero Signal kicks in with its heavily layered guitar attack. Already the changes are apparent within the sound of the band as the songs are longer and Burton’s vocal’s are more hardcore screamed than death/grind growled. The other notible change in Burton’s voice is his singing. Only hinted at during Soul Of A New Machine his clean vocal parts are much fuller and stronger sounding, adding a needed variety to his heavier vocal stylings.

I am rape…I am hate…I am rape…I am HATE!
Filled with pain, a bruised and darkened soul
Spare me from the life thats full of misery
I don’t want to live that way
I don’t want to live that way                                                                          

Taking its name from the film Blade Runner, Replica was released as the bands first single and the first for the album (Dog Day Sunrise, a cover of Head Of David would follow). This was by far the most commercial song on the album even considering the lyrical theme it took. Terminator would also get a look in song title wise with H-K (Hunter-Killer),which is what the relentless killing machine is referred to in James Cameron’s first film, a furiously paced number that is up with the albums best numbers. It is with the final coupling of Pisschrist(named after the controversial art piece) and Therapy For Pain (both songs featured in embryonic forms on the first album) where the album surely peaks.

Face down, arms out
Nailed to the cross of doubt
Blood runs like rain
Drowning for this world in vain

Pisschrist’s indictment of faith is followed by the nine minute slow and bleak Therapy For Pain showing yet another side to the bands evolution from just another grindcore band with its accent on piano and electronics over guitars.

I was working in public radio when I received this album from Roadrunner Records and can still remember my feeling of awe when pushing play for the first time. Although with time I have come to find Soul Of A New Machine to still be my favourite I can not deny the affect this had on me and the metal community at the time. This was the definitive metal release of 1995.