Metal Blade’s roster is impressive. The addition of technical progressive death outfit Allegaeon (pronounced “uh-legion”) serves to fortify the label’s reputation as one of the best in metal today. They made a wise move grabbing these guys. So many bands blur into each other, each sounding like the other and no more than a dilution of whatever extreme genres are in vogue. On Fragments of Form and Function, Allegaeon combine technical proficiency with excellent songs to produce a dynamic take on extreme melodic metal.
The high quality production of Dave Otero must be given credit. Each instrument is crisp and sharp, crystal clear. Even the bass – an instrument that seems to provide no end of nightmares for producers unsure what to do with it – is audible. In so doing, Otero has allowed each band member’s high level of musicianship presence in the mix. Drummer/machine Jordan Belfast lays a concrete foundation that is unyielding in its technical precision. Vocalist and lyricist Ezra Haynes’ growl is intense, utilised for dark delivery as well as laconic effect. Guitarist Gregg Burgess’ skills are untouchable, his fretwork is fluent, his riffs brutal, and his classical training shines through particularly in the coda of Biomech – Vals 666, adding melancholic majesty to a technical palate overflowing with technique and feel. Shredder Ryan Glisan’s work compliments Burgess and together they make for a brutal unit with solos that exude feel and inventive riffing skills. And growling beneath all of this is bassist Corey Archuleta, providing low-end support and harmonious countermelodies in the breakdowns. This combination and composition of two guitars and bass bring together melody and harmony in remarkable style. Check out the melodic instrumental sections of From Seed to Throne and Accelerated Evolution.
Songs? Slow grooves, hook-laden riffs, huge grooves, …
Hailing this album as a ‘return to form’ would be somewhat of a misleading description, as even at their best (I’m thinking Beers, Steers & Queers here) RevCo albums are decidedly patchy. However, there’s some evidence here that since he wound up Ministry, Al Jourgensen is putting a bit more effort into his Revolting Cock guise.
The first two tracks, ‘Trojan Horse’ and ‘Filthy Senoritas’, throw something of a curveball as they both possess a traditional verse/chorus structure and sonically fall somewhere between Vision Thing-era Sisters of Mercy and Type O Negative. Not exactly what I was expecting from a RevCo album in 2010, but really good instantly catchy stomp-a-longs.
Things get back to a more traditional RevCo stylee with ‘Dykes’, which features the perfect balance of tongue-in-cheek lyrics (pun intended), shouted industrial vocal, four-to-the-floor drum pattern, sampled guitars, soaring chorus, techno synth swirls. And for most of the rest of the album the band stick with this well established RevCo industrial-techno template – it’s Ministry with a sense of humour and a permanent erection, and is all the better for it!
‘Juice’ features a hilarious vocal from some juice-hating Teutonic character, another storming chorus and some great percussive synths. ‘Piss Army’ is RevCo’s anthem for the most dedicated of their fans, and should prove more than motivational enough to rally the troops into assuming the position. ‘Fuck Money’ (how they keep coming up with these song titles after so many years I don’t know!) features a very honest refrain (“boo-fucking-hoo for you, just buy my fucking album!”) but very little else. Fortunately things pick up again on next track, ‘Bitch Addictive’ – which has a kind of glam-edge to it that has me thinking of Billy Idol.
‘Air Traffic Control’ is another strange one, …
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