Plattan är resultatet av det nya samarbetet mellan sångaren Burton C. Bell och originalgitarristen Dino Cazares.
Övriga medlemmar i bandet är basisten Byron Stroud och trummisen Gene Hoglan.
Som producent av plattan hittar vi Rhys Fulber som även spelar keyboard!
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The seventh studio album from Fear Factory. Mechanize
features the highly reported reconciliation of vocalist Burton C. Bell with original guitarist Dino Cazaresalong with bassist Byron Stroud and journeyman drummer Gene Hoglan (Dethklok, Strapping YoungLad).
The anticipated album also welcomes back keyboardist/producer Rhys Fulber (Front Line Assembly).
Mechanize is a full-fisted blast of passion and innovation that sounds like the missing link between’s 1995’s groundbreaking Demanufacture and 1998’s more texturally nuanced Obsolete. Songs like “Industrial Discipline” and “Powershifter” are crushing and colossal, melding fast and precise rhythmswith vocals that pinwheel from raw and scathing to hauntingly melodic while “Fear Campaign,” whichfeatures harrowing spoken word passages, quickly segues into a showcase of punishing beats, rapidfireriffs and ghostly keyboards.
For the first time in years, the band’s industrial roots glimmer through
its street-lethal metal, thanks in part to Fulber, who worked on Fear Factory’s popular industrial remix albums Fear is the Mindkiller and Remanufacture.
“I didn’t want any of the soundscapes to sound natural,” says Bell. “I wanted them to be really
mechanical because I wanted that aspect of Fear Factory to really shine again.
I feel it kind of gotdulled over and that’s the aspect that I really enjoyed a lot about Fear Factory. I was a huge fan of industrial music and still am. And you don’t hear much of that anymore these days.”
While Mechanize is instantly reminiscent of Fear Factory’s most potent moments of discovery, it’s
hardly a stroll down the old assembly line. Through a combination of technological advancements andexperience, Fear Factory have evolved like a computer virus, constantly reconfiguring itself to
maximize its destructive impact.
As work began on the album in early April, Bell, who resides inPennsylvania, admitted he initially expected the years apart would leave him feeling awkward or uncomfortable. However, when Cazares picked him up at the airport his apprehensions melted like a
block of ice on a hot electric motor. “After being with him a couple hours and talking to him everything was cool,” Bell says.” Three months later the duo had a fresh batch of new songs written and a moreimportantly a renewed confidence in their union.
“Our creative juices were really flowing the whole time,” says Cazares about the entire creative
process. “All of a sudden we’d look at the clock and go, ‘Holy shit, it’s already 2:30 or 3 am.’ We justlost track of time because we were all bouncing ideas off each other really productively.
We were adding touches right up until the final second to make the record as fresh as it could be.”
In the early ‘90s, many years before Killswitch Engage and Shadows Fall started combining strangled growls with catchy vocal melodies, and Static-X and Rammstein began blending pounding staccato riffs and jackhammer beats with electronic samples, Los Angeles future-thinkers Fear Factory were reinventing both death metal and industrial rock with an arsenal of sonic styles.
The band, with Bell and Cazares at its core, landed a record deal based on a self-financed recording they made with producer Ross Robinson (Slayer). They immediately entered the studio to record their first proper album, Soul of a New Machine. Released in 1992, the album nearly transformed death metal overnight with its blend of throat-abrading screams and melodic vocals, and sci-fi lyrics about a machine that was invented to control and contain mankind.
“A lot of people didn’t get it and really ridiculed us,” Cazares recalls. “Because of the different vocals some people were like, ‘whoah, this is cool, this is different.’ And then other people went, ‘he’s singing melodically? That shouldn’t be on a fuckin’ death metal record.’ It took a while for more people to catch on to that style of singing, and now it’s everywhere.”