Review by Rachel Jablonski
Let me just throw this out there. Listen up, girls! If you are a chick into metal you probably already know that Burton C. Bell just has one of those voices. Akin to vocalists like Chino Moreno of Deftones or Neil Fallon of Clutch, the oral arousal characteristic of the Fear Factory front man drives a distinct rush of musical pleasure. Bell’s whispers, screams, solid notes, and tones are just, well you know, delectable. But hold on boys and girls! Please do not associate sex appeal in any way with Fear Factory, for the love of god! Nooooooooooooooo! Not even close! This minor detail of genial masculinity may be a consistent bonus throughout the Fear Factory years, but it is not the key scope of the band by any means. Massive rhythms, pulsing guitars, subtle synth, and incorporated electronic samples, the very definition of Fear Factory from 1992’s Soul of a New Machine to now, are again the basis of their latest album titled Transgression.
Having said all that, Fear Factory friends and foes please settle down momentarily and just listen to the record with an open mind one time through. You are not going to get Demanufacture with the band’s latest release. Transgression isn’t going to bring you any Obsolete action either. With the departure of guitarist Dino Cazares you are not even going to get the same band interlock. But listen to the disc stand alone without any preconceived notions, what do you think? The eleven tracks on Transgression may not be completely consistent with Fear Factory albums of old, admittedly the sound compels somewhat of a softer feel, but if you screen the album as an independent work you may just find trademark Fear Factoryisms galore in a different type of album presentation.
One_two oneoneone_two oneoneone_two oneoneone_two oneoneoneone one_two oneoneone_two oneoneone_two oneoneone_two oneoneoneone… the foot stomping drum rhythm screams as the first track, “540,000° Fahrenheit,” begins. Despite rhythmic predictability, the simple four beat measures are inescapable cadenced delight. After a few bars a pulsing guitar joins in angst, synching with the pounding rhythm, as subtle samples and vocals almost Gregorian chant like resound. Ok, I lied. Bell’s vocal tones, no matter what words he may be singing/screaming, are a big part of Fear Factory stimulation after all. Enhancing the vocal stimulus is the combination of incorporated synth, samples, and production techniques.
The production on Transgression, the first Fear Factory album produced by Toby Wright (Korn/Alice in Chains/Soulfly to name a few) greatly contrasts, say, the band’s over produced 2001 Digimortal release. Transgression is instead raw and accomplished in unadulterated sound. “Spinal Compression” is a great song example with it’s straight up crunchy guitars and dominant double bass drum. Each instrument of the song is allowed room to breathe, containing its own individual character, rather than all elements being forced into perfectly mixed production. Not to say intermix among instruments does not exist. Just listen to the instrumental sounds and twists in songs like “Contagion” or “Empty Vision.” But let’s not focus too much on the beginning songs of the album. It is the back half that is great.
Beginning with track 6, Fear Factory’s latest effort seems to really take off. Though a slower track, not near as heavy as the five songs prior, “Echo of my Scream” (featuring Billy Gould of Faith No More fame) accentuates the slow paced guitars and melodic vocals of Bell. Bordering overproduction, the song incorporates added sample and vocal effects during the verses. But the chorus breaks away from the reverberating vocal effects and the music picks up in volume and clarity, though not in tempo. The track has a more mainstream feel, but that does not take away from the effectiveness of the individual piece itself. A cover of U2’s “I Will Follow” also mirrors the softer side of the album with a lighter vibe than prior songs. In addition, both songs, along with a track called “Supernova” (also featuring Billy Gould) demonstrate, irritatingly while at the same time captivatingly so, more of an upbeat feel than that of the typical heavy, beastly, rough Fear Factory sound.
The other cover song on the album, “Millennium” by the band Killing Joke, is perhaps one of the best songs on the album. It begins with much distortion, short rhythmic heavy guitar, and a corresponding double bass drum. This fluctuates swiftly, yet fluidly into a steadier drum beat with the continued guitar riff. The huge sound is all encompassing and bountiful. Tempo changes from intro to verse to bridge to chorus over and again are enchanting and the instrument mesh gripping. I was born to see two thousand years of man's effect upon the planet extinction seems to be a plausible risk, whatever happens well I'm part of this... the verse highlights with vocal gruffness. My life I've been waiting for this moment… All my life I've been waiting for this moment to come… Bell melodically sings at the bridge with a supplementary low vocal grumble and entrancing vocal echo accentuated by the synth. …Resolutions for show, old ways don't seem to know, singing in the millennium with you... the words of the chorus ring. A heavy mess of melodic, lyrically inspired, metal intensity, “Millennium” is definitely one of the best Transgression has to offer.
Hey, wait! Let’s not forget another commendable track called “New Promise." Co-written by Lamb of God’s Mark Morton, the song starts out rather desolate and slow, then bashes into heavier sing-song intervals of passion. And then it’s “Moment of Impact” that forces the heavy feeling implied by the title. Finishing off the album with fury, the finale song is solid and vocally stern in technique. BRACE MYSELF FOR THE IMPACT!
Friends and foes, we as humans are creatures of habit, all of us are guilty. Fear Factory fans – this is not Obsolete or any other Fear Factory release. Just because the word “factory” is in the band's name does not mean that all of their albums should sound as if duplicated on an assembly line; the album is what it is stand alone. Fear Factor foes – since this album is somewhat different than Fear Factory priors, give it a shot. Who knows, with no preconceived notions and an open mind you may just come to find that you enjoy the album as I do.