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Industrial Metal is a much maligned avenue of metal. Metalheads may see it as average musicians using keyboards and mixers to produce uninspiring, one dimensional songs with repetitive riffs, void of any guitar solos and all churned out in the name of making them look like they're futuristic hate machines that are a dab hand at technology....this album from Cavalera and Fudge Tunnel's Alex Newport proves otherwise.
This album caught me by surprise not only by being inspiring but also being good considering its point in time in Max's career..it being made after just releasing Chaos AD!!!
That might be one of the repellants to metalheads and why this album is pretty underrated. You probably think that this albums chocked full of the lame, half ass groove/proto mallcorisms and riffs from Chaos AD but there's SCANT proof of those shenanigans on here. This THRASHES and it Thrashes fucking hard!! Riffs and aggression straight out of the Beneath The Remains-Arise drawer.
Cavalera does carry over the political themes to this side project from Chaos AD which some might find hard to stomach and too hardcore inspired but for me its a small price to pay for the thrash mayhem that ensues.
The best asset the album has which casts them away from other industrial metal like Skrew or Ministrys Psalm 69, is the riff variety. Each song has a different flavour and mould but still maintains the "Thrash Til' Death" Ethic!!
The album, song by song generally has the same level of high quality but my favourites and ones that stick out to me would be "Cockroaches", "Guerillas" and "For Fucks Sake".
This is pretty much the last stop on Max's road of metal supremacy. After this release the path that Mallcore pioneers KoRn and Deftones was too tempting and he fell by the wayside, as best displayed on the Korn Fellating, '96 Sepultura release "Roots" and then onto the disgraceful outfit "Soulfly".
Max "Metal God" Cavalera was killed and replaced with the baggy panted scum bag "Mallcore Max" and followed by hordes of metalhead mournings..:(
However...if you're out to find some "Jump Da Fuck Up" moments on here you'll be looking for a long time cos the aggression and riffs will kick seven shades of shit out of you.
Side projects can be a dodgy proposition. Look at the likes of Brujeria, Six Feet Under, Meathook Seed, Superjoint Ritual, Viking Crown or any number of other projects. All contain members of better known bands who want to try a different musical style to their normal gig, but fail to deliver a satisfying performance. They're often indulgent record company favours to keep artists interested.
Of course, there are exceptions; SOD, Mr Bungle, and Down immediately spring to mind as projects enjoyable to fans of the original artists as well as a wider audience. So does Nailbomb.
Former Sepultura main man Max Cavalera and Alex Newport, of Fudge Tunnel fame, combined their collective forces and produced a master work of massive proportions in Nailbomb, in the process creating one of the best albums of the year for 1994.
The basis for Nailbomb was a guitar sound of titanic proportions melded with a number of rhythms– hardcore, electronic, metallic, synthetic and organic. Over top of it all, Alex and Max trade vitriolic hardcore shouts, keeping it simple and angry in their lyrical targets. Further messing up the mix are some excellent samples, including an absolute classic from "Henry: Portrait Of A Serial Killer". The pair was helped out by a veritable metallic supergroup; including Igor and Andreas from Sepultura, and Dino Cazares of Fear Factory.
And what was the final result? An album of hardcore inspired tracks, combining anger filled political and social commentaries with one of the most crushing guitar sounds ever heard. While most comment on this album has concentrated on Max's involvement, it sounds more like a spiced up Fudge Tunnel album than it does a Sepultura side product. The vocals are often held back in the mix, as Newport was fond of doing in his full time band. There are more Fudge Tunnelisms in the basic hardcore riffing and some of the song structures.
The rhythm guitar on this album is part sonic boom, part jet engine roar. It really needs to be heard to be believed. Pick any song at random, except the mainly electronic "Shit Piñata", and you will hear it crushing all before it. Whether it's the unstoppable juggernaut in "Sick Life", or the hidden ambush attack of "For Fuck's Sake", the sound is just staggering. This may sound like hyperbole and over emphasis, but take a listen for yourself. Anyone who is not impressed is either deaf or being deliberately obstinate.
This album far outstrips anything either man has been involved with since. Many thought it would be the direction Sepultura would follow. If they had, perhaps they would still be champions of the underground, rather than the split entities of tribalist Soulfly and the reinvented Seps we have now. This is a metal classic, in every sense.