SONUVABITCH!!! I was actually quite into a long-winded exposition of every track I’d listened to and my PC just hiccupped and I lost everything. I’m pretty pissed at losing my work. I’ll try to get inspiration to go back and add some notes later. Dammit. Listened to so far . . . (EDIT: I just went back and added some quick notes from what I remembered).
Godflesh - Circle of Shit: This one sounds really dated. What is this? Industrial hiphop? It bored me and just didn’t age well (actually, I’m not sure if it aged, to be honest, as I don’t know when it was recorded and don’t want to go back to check).
Grey Machine – Sweatshop: This did nothing for me (aside from torturing my ears). I didn’t find it particularly interesting and think that this experimental noise stuff was much better explored in the 80’s (or earlier) with bands like Nurse With Wound, NON, Throbbing Gristle, etc. This one just feels lazy and jaded.
Jesu - Everyday I Get Closer . . .(promo): The most musical and more listenable than the two above, but not my cup of tea. Sounds like Nine Inch Nails being fingerbanged by Coldplay, or vice versa. Yeah, I said it. Coldplay. Next.
Godflesh - Crush my Soul.: Meh, musically I can’t bring myself to love or hate this one. I did like that there was a video for this one. While Justin looks dangerously close to angry 90’s Pantera Phil Anselmo there’s a few things I like about the video. First, I felt that it helped me connect a bit with Justin and feel he’s not quite as uber-serious and lost up his own ass as I might think. The juxtaposition of various visuals . . . cockfight, spazzy nerd dancer, and suspended upside-down quasi-religious bondage dude . . . it was kind of refreshing and goofy. But the best part about the video was the bass player. Some dudes can look totally badass by looking completely bored, and this dude was one of them. Mad props to bored badass bass player.
Onto the next . . .
Godflesh - “Slateman”: My favorite so far. It’s got the dark slamming aggression that I liked from their “Streetcleaner” debut, but it also has some other unexpected vibes on it. The crunchy guitar licks in the back actually have a 90’s grungey taste to them. And there’s a melancholy depressive element that contrasts nicely with everything. It’s really hard to pigeonhole this track and I guess that’s part of the appeal and interest.
Godflesh – “Sungod”: I like this one. The funky bassline rules, and I think it goes well with the trashcan drum sound. It gives it a dark grimy urban feel, especially when mixed with the feedbacky guitars. This one made me bob my head more than any of the other tracks.
Jesu – “Farewell”: This just seems like emo hipster music that people like me won’t ever like. And I don’t. I wouldn’t be able to tell the difference between this and Bon Iver or something. I hate the stupid autotuned vocals too.
Godflesh – “Mothra”: Ehh, this makes me kind of nostalgic. Not bad. It sounds kind of like what was coming out in the early 90’s by some of the more creative percussion-based bands like Grotus. I would have rocked out to this at an underground gothy goth industrial club back in the day.
Grey Machine – “Disconnected”: More atmospheric, pounding, depressive noise. No thanks.
Jesu – “Friends Are Evil”: I kind of liked this one. I don’t know what the lyrical content was or anything, but I liked the way it progressed and seemed to have almost separate chapters within the song. It was almost like a mini-symphony and seemed to evolve and paint a nice abstract aural picture. Again, not something I would listen to often by choice, but especially if it were an actual performance I see the artistic merit and aesthetics of this one as it certainly touches emotional and soulful parts of the listener’s psyche.
Jesu – “Wash It All Away”: Doesn’t seem to explore as much as the “Friends Are Evil” track, but this one is a pretty and pleasant and still melancholy piece. I think I could see how a Jesu concert would be an immersive and emotional journey and that would be pretty appealing — especially if I were totally loaded.
. . . . .