Industrial Metal – MELT REVIEWS

Album Review: Portrayal of Guilt – …Beginning of the End

Rating: 8/10

It’s nice seeing barriers being broken in the current Metal community thanks to younger bands daring to blend differing genres and incorporate outside influences. Along with this forward thinking approach, comes the re-evaluation of a genre like Nu-Metal, particularly “Korn.” There was a time when liking a band like Korn was considered uncool amongst Metal elitists. Even during the bands chart-topping glory, there were those who dismissed the band and simply believed they were not “real Metal.” Now, we have a whole generation of young Metal fans who reject rigid views and gatekeeping, and it’s glorious. Korn’s influence is now celebrated and referenced sonically in the music of bands like “Chat Pile,” “Code Orange,” and Austin, Texas band “Portrayal of Guilt.” Fearlessly blending genres such as Screamo, Black Metal, Sludge Metal, Emoviolence and Noise Rock, Portrayal of Guilt have been gifting us abrasive and chaotic music rich in tumultuous blast beats, sludgy guitar riffs, heavily distorted bass, and shrieking vocals since 2017, and yet, with their distinct sound established, the band still manages to reinvent themselves with every album, which prevents their sound from slipping into monotony. On their new album …Beginning of the End, the band find themselves reinventing their sound once again, incorporating just the right amount of genres such as Nu-Metal, Trip Hop, and Industrial, to create more cinematically bleak soundscapes that echo some of the best 90’s gems like “Nine Inch Nails” or the “Spawn” soundtrack. Seriously, the track “Ecstasy” sounds like the band went back in time to 1997 to collab with “The Dust Brothers.” The track “Chamber of Misery Pt. IV” features a Trap-style verse from rapper Slim Guerilla, and “God Will Never Hear Me” is a slow but brooding track with a nightmarish ambience, which perfectly executes an unpredictable, but very “Portrayal of Guilt” experience, and that’s what makes this album work so well. The band never fully emulates a specific genre, but instead mixes various genres not often associated with the band, all while maintaining their usual harsh sound. Now, where does Korn come into play with all of this? Well, Portrayal of Guilt’s vocalist/guitarist Matt King has been very vocal about his love for Korn, and …Beginning of the End can be considered a continuation of the unique and innovative sound of those early Korn records. I mean, let’s face it, aside from a handful of good Nu-Metal bands that left a revolutionary mark on the genre, Korn unintentionally inspired A LOT of really bad imitators in the 90’s and early 2000’s, but in an alternate universe where more good than bad came from Korn’s mark, …Beginning of the End is the natural progression of what Korn pioneered. Oh why couldn’t we hear this stuff instead of “Last Resort” back in the late 90’s? Better 32 years late than never I guess. Whether it be the early Blackened Hardcore of Portrayal of Guilt’s early records, the Gothic-tinged sludge of Christfucker, or this new direction of Nu-Metal combined with Hellish Black Metal, it is certain that Portrayal of Guilt will continue to make whatever the Hell they feel like making, and the band happen to be very good at it.

Written By: Steven Sandoval

E.P. Review: Artxdekko – Things I Can’t Control

IMG_E6926

Artist: Artxdekko

EP: Things I Can’t Control

Genre: Alternative/Industrial Metal/Punk Rock

Label: Self-released

Rating: 8/10

There’s just something about pure unadulterated rage in music that either turns you off, or completely enthralls you. Whatever the case may be, one thing is for sure, you definitely feel it whether you hate it or love it. Los Angeles based artist “Artxdekko” delves deep into the uncompromising feeling of directed rage on his self-produced debut E.P. Things I Can’t Control. Drawing clear influences from ’90s “Alt Rock,” and at times sounding like a dead ringer for “Nine Inch Nails” or “Filter,” “Artxdekko” wears his influences on his sleeve, but never strays into imitation. Instead, he expands and opens up new possibilities for a recognizable sound that unfortunately feels forgotten in contemporary music. Being four tracks in length, this E.P. gets its point across with solid and straight-forward songwriting that combines a fast-paced “Punk Rock” edge with an affinity for blatant aggression. Are these songs about someone in particular, or are they about that general feeling we all feel from time to time when someone wrongs us? With very little background provided with these songs, that mystery seems intentional. Just let the music take you to an emotion you most likely try to repress. Anger is part of being human, and what better way to channel it in a non-violent way than through music? This E.P. will make you feel that rage even if you’re in the happiest of moods.

Written By: Steven Sandoval

Marilyn Manson Announces New Album “We Are Chaos,” Shares Title Track

IMG_E6528

Marilyn Manson has announced that he will release his 11th studio album We Are Chaos on September 11th via “Loma Vista Recordings.” The album is produced by Shooter Jennings, and features Juan Alderete on bass and Brandon Pertzborn on drums. Manson has also shared the title track, and it’s not what you’d expect given a name like “We Are Chaos.” It’s an acoustic guitar-driven ballad that wouldn’t sound out of place on an album like Mechanical Animals. Will the rest of the album feature the same gloomy balladry, or will he return to the overly-nostalgic “I’m still a villain” sound that littered his previous album Heaven Upside Down? I guess we’ll see in September. You can watch the music video for “We Are Chaos” below:

Album Review: Poppy – I Disagree

71077658_3029736167043453_6814704456853094400_n

Artist: Poppy

Album: I Disagree

Genre: Pop/Nu-Metal/Metalcore/Industrial Metal

Label: Sumerian Records

Rating: 10/10

Whenever an artist announces that they’ll release a new album consisting of sounds from a genre they’re not primarily known for, it’s hard not to be skeptical or roll your eyes upon hearing the news. There’s always that chance that the outsider not versed in the genre will regurgitate stereotypes and package it as whatever genre they’re going for. So when word caught on that musician and internet sensation “Poppy” was going to release a heavier and darker album, it unsurprisingly divided the fans that loved her sugary “Alt Pop” and immediately prompted “Metal” elitists to throw a fit, but what seemed like something that would fall into parody turned out to be rather impressive. Fucking incredible to be honest. I’ve been aware of Poppy. Though I wouldn’t necessarily call myself a fan of her previous work, i’ve always respected the unusual and artistic take on her own brand of “Pop,” and even the strange David Lynch-esque nature of her internet videos. Her new album I Disagree wasn’t necessarily a priority for me and after how stacked this year has already been so far with new releases I honestly and ashamedly had forgotten about it, but after much buzz I finally listened to it, and I was pleasantly surprised. This is the most accomplished fusion of Metal, Pop, and Electronic Music i’ve heard in a very long time. This album works on so many levels. It’s undeniably heavy, drawing influences from “Metalcore” and “Nu-Metal,” it’s immensely polished with pristine yet filthy production that incorporates elements of “Dubstep” and “Industrial,” and Poppy’s “burn shit down” attitude combined with a sense of maturity, optimism, and animated yet lush vocals are a recipe for success. Another reason why this album works is that Poppy doesn’t sound like she’s trying to sound “Metal.” She’s not throwing up devil horns while wearing a pentagram t-shirt. Instead she’s just being Poppy, a darker Poppy yes, but this progression feels genuine. Though lyrically simplistic, Poppy’s intentions are clear. They’re to inspire. To inspire us to be true to ourselves, to question authority, to be free, and to innovate, and not once does it come off as corny. To all the Metalheads that will dismiss her as a “poser” or disingenuous, think of it this way, she never actually said she was making a “Metal” album, she’s just incorporating a darker sound while showcasing her love for all things “Metal,” and by default the album is undeniably “Metal” and drags the genre kicking and screaming out of it’s element. The fact that it takes someone who’s primarily known for “Pop” to do that says a lot about your refusal to evolve. Poppy is going to do Poppy, unafraid of backlash, and that’s utterly inspiring.

Written By: Steven Sandoval

Code Orange Share New Song “Swallowing The Rabbit Whole”

Code Orange are set to release their new album UNDERNEATH on March 13th via “Roadrunner Records,” and today the band gave us another taste of the upcoming album. Titled “Swallowing The Rabbit Whole,” the song is just as vicious and rage-filled as the title suggests, and is incredibly experimental with odd time signatures and of course features an incorporation of Electronic/Industrial. The music video is just as explosive and creative. You can watch the music video below:

Code Orange Announce New Album “UNDERNEATH,” Share Title Track

Metalcore innovators “Code Orange” have returned, unveiling the details of their upcoming album UNDERNEATH which will be released on March 13th via “Roadrunner Records.” The band have also shared the album’s title track, and in true Code Orange fashion, the track combines their own heavy brand of Metalcore with Industrial-laden electronics and moody atmosphere, a sound that separates them from their peers. With an infectious interplay between vocalists Reba Meyers and Jami Morgan, it’s looking like the album’s track’s aren’t looking to sit still in one corner, and who better to bring a refreshing sound to the genre’s stagnant predictability than Code Orange? You can watch the music video for UNDERNEATH below:

Ministry’s “The Mind is a Terrible Thing to Taste” Turns 30

On this day in 1989 “Industrial” legends “Ministry” released their fourth album The Mind is a Terrible Thing to Taste.” Diving further into the “Thrash Metal” leanings that popped up on their previous album The Land of Rape and Honey, The Mind is a Terrible Thing to Taste was the first album that found the band fully developing their signature style of Thrash-leaning “Industrial Metal” with countless samples and unrelenting heaviness. Sole member Al Jourgensen has been vocal about his disappointment with this album, citing the chaotic background of the recording and the fact that him and pivotal band-mate Paul Barker were never in the same room during the recording of the album as the reason for that, but that chaos translated to the music quite well with it’s aggressive and terrifying darkness. This album was the complete reinvention of the band. A reinvention that still hasn’t been matched to this day. Happy Anniversary.

IMG_E3305

Chelsey and the Noise Share New Song “Are You Afraid?”

31616DB6-1D6D-45D2-8C31-805AB39BA20A

As far as i’m concerned, “Chelsey and the Noise” are one of the most innovative acts in Industrial/EBM music today. They adopt traditional Industrial sensibilities all while fearlessly incorporating a darker version of Pop to make us dance and even Metal to make us thrash. Halloween is upon us, so of course we need a new track from the duo, and on their new single appropriately titled “Are You Afraid?” they deliver an enticing combination of EBM, Metal, and even a little Trap, proving once again that they aren’t afraid to drag the genre of Industrial kicking and screaming into the new age. Don’t be afraid to listen to this track. Link below:

https://m.soundcloud.com/chelseyandthenoise/are-you-afraid

Nine Inch Nails’ “The Fragile” Turns 20

On this day in 1999 “Nine Inch Nails” released their masterpiece The Fragile, a double album that was a big departure from it’s predecessor The Downward Spiral. Moving away from the harsher noise-infused tumult of The Downward Spiral, which reflected songwriter Trent Reznor’s descent into madness, The Fragile found Reznor incorporating elements of “Ambient,” “Electro,” eerie soundscapes, and even a little “Hip Hop,” but wasn’t any less self-reflective. The lyrical themes of depression, isolation, and drug addiction continued. If The Downward Spiral was the soundtrack to someone’s descent into depression, addiction, and nihilism, then The Fragile was the ultimate coping method and state of realization. It was the sadness that follows the anger, and it was an incredible end of an era for “Nine Inch Nails.” Happy 20th anniversary.

Screaming City Shares New Music Video for “Dead from the Start”

37704953-DA7B-4FF9-AB4E-1AA890E3F50B

Following the release of his ambitious new E.P. Skeleton Man, Trip Logic a.k.a Screaming City has shared a new music video for one of the EP’s standout tracks “Dead from the Start,” and it’s a whirlwind of visuals that are as beautiful as they are nightmare and nausea-inducing. Skeleton Man is by far his darkest and heaviest work, moving further away from the “Electronic” heavy elements of his previous material and into “Industrial Metal” territory with glamorous theatrics. You can watch the music video for “Dead from the Start” below: