A mishmash of metal and electronica influences (Ministry, Slayer, Fear Factory, Front 242, Orgy), the Machines Of Living Death (henceforth M.O.L.D.), craft new brutality through the conventional, yet largely under utilized tools of the modern day. Driven by flesh and blood, M.O.L.D. is an epiphany of humanity filtered through technology.
Osiris Slain - Vocals
Cancer - 7 & 8 String Shredtech
Wall - 5 String Subtech
Zombot - Drums & Logic Clock
Streaming samples can be heard at:
EOF (29a) is available on iTUnes and CDBaby.
A violent and vicious amalgam of industrial, drum & bass, and noise, perhaps too extreme for most audiences to actually enjoy.
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"Orgies of violence / the workings of a sick and depraved mind;" so state the sampled intro that beg..."Orgies of violence / the workings of a sick and depraved mind;" so state the sampled intro that begins the audio assault that is Machines of Living Death's EOF (29A), and no description could be more apt. Once "Judgement Day" hits, the listener is almost literally beaten into submission with a vicious array of pummeling gabber and breakbeats, guttural guitars, and Dad Dadds' virulent vocals that spew out the speakers like the devil's pea soup vomit from The Exorcist, complete with a melodic hook during what could be called a chorus.
It's as if the Baltimore-based band decided to take equal parts Bile, Atari Teenage Riot, and Slayer, and crank the volume knobs on their guitars and synthesizers beyond their normal capacity. One of the more interesting aspects of EOF (29A) is the inherent brevity of the songs, the majority of which barely last longer than three minutes; but in those few minutes, the band packs all the energy and rage one would expect from an epic-length black metal anthem. For instance, "Christ A.I." and "Screambit" both possess blistering drum & bass tempos perfect for the flailing uncontrollably on the dance floor, with abrupt stops in the musical action to allow for the creeping fright of horror movie samples to briefly take over.
Unfortunately, this proves to be one of the major flaws of the album as well, for while it is considered a full-length debut, it clocks in at less-than-27 minutes. What's more is that most of the songs barely have a definitive beginning or end, blending one into the next as if each track is a movement in a hardcore industrial symphony; an interesting concept, but one that seems pointless when the album races by at such a breakneck pace. And while M.O.L.D. do employ some intriguing effects, such as the fluttering theremin-like whistling in "President Evil," the abundance of samples throughout add to the horrific atmosphere, while also reeking of the influence of Skinny Puppy and Ministry, which is at once enticing and repellant. In many ways, the lack of any easily identifiable hook or catchy melody harkens back to the original experimental spirit of industrial music, which is particularly evident on the seemingly haphazard arrangements of "Sym.bi.ot" and the marching cacophony of noise that is "Third.World.War."
Credit should be given to guitarist Cancer (The Crucifuct), drummer Matthew Marzolf, and bassist James Zimmers for crafting a tightly knit package of raucous industrial metal that would surely impress heavier-than-thou metal aficionados for its heaviness. Of course, what this all amounts to is an album that will appeal to a small niche in even the industrial music community, thus limiting M.O.L.D.'s appeal and bringing into question their ability to reach anybody with their brand of sonic violence.
Third World War
Stigmata 2012 (Ministry cover)
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