Churn

The shift from EP to full-length gave way to Shihad’s rock direction, rather than continuing with their thrash metal roots. What we have here is a darker cross between Fear Factory and Filter, both bands that utilize industrial development to further their manufactured sound. The value for this debut is a whole lot better than most at the time, and the energy is rabid. Vocals are usually distorted but clear, not grainy. The style fits post-grunge ethics, as does some of the riffs, but the formula is still slightly thrash.

Overall the group chose a more unpolished, raw, and sampled approach as opposed to their more polished and produced sound later on in life. Therefore, the tone is gritty and the vibe rougher than anything else they’ve produced. The riffs themselves have a more laid back twist to them, such as “Stations” where the groove puts the mind on a laser and shoots you through the skyline. Otherwise, the rhythm takes more of a pummeling pace like on “Clapper Loader” and “Derail,” where the drums are tribal like (deep and bellowing) and the cadence is highly monotonous. The bass supports this entire regime everlastingly – you can hear it churn like crazy behind the bass drums and riffs like a friggen’ demon in the shadows.

Vocally, it is a cross between Richard Patrick of Filter, Trent Reznor from Nine Inch Nails, and Devin Townsend, - I get this idea because both men are impulsive with when to utilize their vocals and second because their range is vast. Another noticeable trait is the atmosphere on this – it’s huge! Not necessarily like Townsend’s work, but you pretty much feel like you’re in some sludge factory in the industrial zone of a city; the tone is dirty, murky, and hypnotic. The bass again helps this out a lot (check out “Bone Orchard”) with its cryptic tenor – almost as if it’s like the antagonist. The darkest of these is “I Only Said,” where the torturous mood feels like it’s all collapsing on you, and all the instruments are ready to descend with you into Hell. The sampling on this song is perfect, with the war drums blasting by, Toogood mourning away, and the leadwork sadistic and twisted.

Wow, quite the opposite of what these guys sound like now. They would try this recipe again for Killjoy, but not too this extent. Nonetheless, check both out and go ahead with the rest of the discography.