Fear Factory_GenexusWhen it comes to turning an extremely limited sound into a career spanning decades, Fear Factory stands alone (with AC/DC). And as we approach the 20th anniversary of their “cyber metal” style and reflect on how heavily the band utilized themes of technological advancement, artificial intelligence and mutation, the irony of how little their approach has “evolved” should be obvious to the most Neanderthal of metal fans. 1992’s Soul of the New Machine was innovative and exciting, and one can hardly blame them for sticking to the template that got them noticed. But man, they really stuck to it, even when such slavish adherence to formula didn’t result in successful albums. Which brings us to Genexus, their tenth compendium of staccato riffs, machine-like drumming and computerized sound effects, all backed by quasi-death shouts and clean chants (the combination thereof I blame for the rise of metalcore). Well, fanboys can rejoice, because Genexus is as close to Demanufacture Deux as it gets, and that’s what most of you were hoping for, whether you admit it or not.

Things open with “Autonomous Combat System” which is classic Fear Factory, capable of fitting seamlessly on Demanufacture. It’s a good tune with absolutely zero surprises, but when has anyone looked to this band for surprises? Better still is “Anodized” with its brutally simple approach and above average chorus. It’s predictable, but it’ll warm the techno-cockles of Factory drones everywhere. After a few tunes, it’s apparent the band tightened their songwriting significantly from the hit or miss milieu of 2012’s The Industrialist, and while they can be accused (again, always) of plagiarizing themselves to a ludicrous degree, at least they’re stealing from their best days (instead of cloning the later clones, which never works [and likely leads to time travel paradoxes, however that works…AMG]). And that’s what the bulk of Genexus offers, an angry trip down memory lane to the Demanufacture days, with most of the songs approximating that album’s basic appeal. The closest to the bulls eye is the title track, which makes it feel like 1995 all over again. Of course, that means it sounds a lot like “Zero Signal,” but hey, all their songs do if we’re being honest.

Fear Factory_2015

On the rare occasions when they stray from the blueprint, things get more interesting. “Regenerate” eases back on the heaviness just a bit to adopt a slightly more commercial edge and while it’s hardly poppy, it’s certainly more ear-friendly and works because of it. The most offbeat moments come with closing piece “Expiration Date.” It’s the longest song at nearly nine minutes and rocks an ’80s electronica-goth vibe somewhere between Gary Numan and Human League with slight traces of Faith No More. It’s such a welcome change after an album full of industrial sausage making that it feels remarkably refreshing, like finally getting to your sunny vacation destination after being poked and prodded by Terminator brand TSA robots for 40 minutes.

There are the inevitable glitches in the machinery, with “Church of Execution” and “Battle for Utopia” ending up generic and flat, and “Protomech” being saved from the same fate by a decent chorus. And then there’s the universal issue with Fear Factory albums: the songs are so redundant and interchangeable, a little goes a long way. Here in 2015, it’s clear the limited groceries the band cooks with haven’t aged well in the Fridge of Time. Even though most of the songs are respectable by themselves, the overwhelming monotony of the style makes an album’s worth of it a tough listen.

Toy RobotCore complaints aside, Bell’s vocals are good. He’s a limited vocalist, but his clean choruses are effective more often than not and his grunting is serviceable. Dino Cazares’ trademark “riffing” makes him the ultimate example of a one trick pony and he may even qualify as a half-trick pony these days. All his staccato leads feel like they could be moved between songs and make nary a difference, and it was a Homeric struggle to avoid dropping a big, fat “samey” into this review. That also goes for the stop-start, double bass heavy drumming by Mike Heller. He’s no Gene Hoglan, and the rhythmic contusions become mind-numbing after a while

I’ll never feel the same pull to Fear Factory as I did when their early albums were new and different, but Genexus proves there’s still some tread on the tires after 20 years. This is one of their best efforts in forever and should appease their fans, even if that tread is a retread. Like they always say, you can’t go home again, but you can use a 3-D printer to replicate it in amazing detail.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Nuclear Blast [EU][NA]
Websites: fearfactory.com | facebook.com/fearfactory
Releases Worldwide: August 7, 2015

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  • So where do we draw the line between ‘consistency’ and ‘out of ideas’? I feel like bands get the short end of the stick. On the one hand, if they change we all complain about how they were better before. On the other hand, if the don’t change, we all complain about them being sticks in the mud. This is no defense of Fear Factory—srsly, I never liked the band—but that line is mighty fine, I think.

    • Kryopsis

      I am having a very strong sense of deja vu while listening to the embedded track but funny thing is, I can’t even figure out which FF song it reminds me the most of (the answer is ‘all’).

      • This is kind of my issue with Nightwish. I always feel like I’ve heard the song before, but I can never quite place which one it is.

        • Dr? Gonzalo Salazar

          I had the same impression even the first time I listened to Nightwish…
          I don’t think it’s only because they are using a formula: some riffs make me think of soundtracks of old movies or half remembered songs I may have heard during my childhood.

          • There’s something remarkably nostalgic about Nightwish, isn’t there? It’s hard to explain.

        • Darren

          Their latest album seemed like an exercise in self-reference. The guitarist must be so bored by now, since they barely get him to do anything other than single-note slow chugging these days.

        • Juan Manuel Pinto Guerra

          I call it the “jazz factor”. Just like all fusion jazz sounds the same to ME, all Nightwish sounds the same to you. I blame myself though, I guess if I listened to enough jazz I could start to tell the difference. After all I can tell Krisiun songs apart while other people say it sounds the same to them.

          • RuySan

            Shouldn’t that be the “Reggae factor” instead?

            Well, i don’t think it would matter if you listened to much of it though, it would all still sound the same…

          • Juan Manuel Pinto Guerra

            Except because all reggae actually sounds the same… haha

          • Man I hate reggae.

          • Monsterth Goatom

            But…but…. Bob Marley! Jimmy Cliff!

          • [not a Dr] Gonzalo Salazar

            But… but… Dread Zeppelin!

          • Honestly for me it’s the Blues Factor. There is so little blues that seems even remotely interesting. I’ve heard so much and it all sounds exactly the fucking same with one exception: Pedmont Blues. It’s a finger-picking style of blues that I adore. Really unique, interesting stuff.

            But I could go the rest of my life without hearing a 12-bar progression and be perfectly happy.

          • Angel R. Suarez

            Always loved the old blues. Delta and Piedmont; raw acoustic stuff. It’s the original black metal!

          • Juan Manuel Pinto Guerra

            Try some Albert King…

          • I don’t totally agree. Jazz or classical music can be about education; that is, you’d be more likely to be able to tell the differences if you had a more sophisticated understanding of the music style. With a band like Nightwish I’m not saying I can’t tell their songs apart. What I’m saying is that they have such a distinctive tone that I often feel like I’ve heard moments before, but they’re never exactly the same. It becomes this question of “is this a direct quote, or is this a retread of an idea?” and then I run off looking, only to realize that, no, this is just a very similar idea being used in a different place.

            Some bands do quote themselves: Symphony X did that on the last record (they’ve also quoted a lot of classical music on their earlier records). But I just think that a band’s voice can be something diffuse like certain time signatures, keys or tendencies, or it can be something really specific like using orchestra builds that follow the exact same rhythms (Nightwish) or albums that fit the same formula every time ([Luca Turilli’s] Rhapsody [of Fire]), or a type of riff that only one guitarist would play (Symphony X).

          • madhare

            I get your point about some music sounding oddly familiar. But I think in the case of Nightwish there might be a different reason. Namely that Tuomas Holopainen is such a huge Hans Zimmer fan.

            Zimmer basically established a whole”school of Zimmer” style of movie music. Which has been done do death and beyond death by himself and his company Remote Control Productions (Klaus Badelt, Ramin Djawadi, Harry Gregson-Williams, Trevor Rabin, Steve Jablonsky, etc.). In addition, there are probably thousands of people copying their style. First the movie industry fell in love with the style, then the gaming industry etc. So, basically the Zimmeresque music has become ubiquitous in our world. You hear it everywhere.

            And Nightwish is, to a large extent just Zimmer’s music turned into poppy metal. Especially the earlier albums. Nightwish had their breakthrough in 1998 (Oceanborn), which was just after Zimmer has properly established his new style (Crimson Tide 1995, The Rock 1996, The Peacemaker 1997, etc.).

            So a song by Nightwish might sound familiar because a) they’re copying their own earlier work themselves, and b) because their earlier work was already derivative from a sound which has become pervasive in western popular culture.

            (To be frank, I think lot of Holopainen’s so called “good writing” is just ripped straight off from Zimmer. But because the teenage fans don’t make the connection they credit Holopainen with musical genius.)

          • Huh… Now that you mention it…

          • [not a Dr] Gonzalo Salazar

            Interesting. That would explain it…
            So his genius would be to have combined, at the right time, poppy metal with Zimmer…

          • madhare

            That’s a very good point! And applies to many inventions, not just music. “New” things are often not completely new but combinations of existing ideas. Packaged and marketed in a suitable way with just the right timing. (Which is pretty much the whole story of, for example, Apple.)

            It really does explain a lot about Nightwish. For me, the best Nightwish (i.e. Tarja-era) was always a kind of good “gimmick”. Cheesy pop-metal combined with the pomposity of zimmeresque music music and with the over-the-top opera singing. Even the comically syrupy lyrics fitted in that combination.

            Because of that, I’ve always felt that they didn’t really understood how much they threw away when they went their separate ways. Together they were something weirdly unique. Separately they are just another mediocre diva and just another mediocre pop-metal band. Both sides full of themselves. It’s hard for me to get interested in anything they do on their own.

    • I guess it comes down to doing what the fans want, which is what this album does pretty well.

      • It just makes me think that a band this ‘consistent’ over time isn’t writing music by inspiration or by feel, but by numbers. Like: “A Fear Factory song has X and X and X, and if we fill in those boxes, it belongs on a Fear Factory record. If not, it belongs over here on a solo Dino record.” That’s why guys like Max Cavalera should just stop doing multiple bands and focus all their best stuff into one project. (Not that I expect Max to write good music, but the chances are raised if he’s editing out crap instead of ham-handedly jamming riffs into the CC or Soulfly form.)

        • Excentric_1307

          This is sort of the same issue I have with modern Hypocrisy. And Peter himself in interviews has said, “Well, this album has this and that, and everything that makes a Hypocrisy album”. And that’s exactly what’s wrong. I think the possible solution lies in keeping a shred of your sound, but focusing in a specific direction, or a specific atmosphere that can’t be found in previous releases.

          … Did that make any sense? I’m not even sure…

        • PropsToOrpheus

          There might be an alternative way to look at it. Maybe the Soulfly’s and Fear Factory’s of the world (as they currently exist) are where the musicians stick the ideas that fall into their “old” ways of composing/thinking about the music. Meanwhile, they have independent goals: to produce material worthy of a distinctly different project. I’m envisioning a pile of ideas that are just amassing in these guys personal recordings and bouncing around in their minds. Sometimes a bunch of those ideas are in an old vein and they go ahead and say “ok, I think I have enough fodder for another FF album. Let’s do that.” The end goal is to produce something new, but it just has not emerged yet. Most of the ideas aren’t really going to fit anywhere, yet.

          It’s like writing… it’s only by writing a lot that ideas change and styles evolves. The change is gradual, and “inspiration” tends to come out of lots and lots of otherwise typical time on task.

          I am not saying that I think this is what the musicians in FF are doing necesarily. The suggestion is just that maybe the FF material (and other material like it that feels phoned in or just overly self plagiarizing) just accumulates as a by-product of putting the in the raw time necessary to innovate in other ways. Nothing great has come of that raw time yet, so they release another FF album just to keep publishing. Side projects allow them to define new criteria for publishable material that they can aspire to/experiment with.

          It would be cool/totally overwhelming to hear more of the material that musicians produce between albums and never see the light of day. But I guess I disagree that the right thing for a musician to do is focus all their efforts on a single project, because not all of the their projects serve to support their innovation. And that might be by design.

          • But whether or not a project supports their innovation is largely defined by how they define those projects themselves. Plenty of bands have made 180s or zig-zagged and done very well for themselves. And I’d rather get a Heritage or Far from the Sun if it means I’m going to get a Pale Communion or Eclipse later on.

            The one thing standing in the way of that is that a band is in agreement, which often is not the case. But in a case where you have one person who is primarily responsible for the majority of material, then it seems pretty obvious to me that the writer should just write and let what happens happen.

          • PropsToOrpheus

            I agree with what you are saying. But I am thinking of this as analogous to a stock portfolio. If I have one stock in my portfolio, and that company makes a bold new move, that could be a windfall or be a huge loss, and everything is riding on it. One could argue that you want to have some sure-things in your portfolio that yield small, constant dividends. That’s where capital to be more risky in other parts of the portfolio comes from. As long as Fear Factory are churning out material that can be sold under the flagship brand, good for them.

            But the idea is that the main brand keeps them in the game, filters off the not-so innovative material into a useful place, and *can* be used to support real innovation that just takes time to happen. Maybe it doesn’t often work out that way, but it seems reasonable on the surface.

            Like a scientist who needs to keep publishing and doing incremental work. Maybe their “bread-and-butter” work isn’t going to lead to the next break through, but they keep producing this work while they pilot more ambitious studies, communicate with others in the field, and await inspiration that will spark a new direction.

            But I’m talking out my ass… it just strikes me as possible that side projects can be good for creativity. But it follows, then, that the creativity is unlikely to manifest in the main brand because it’s the main brand that keeps them in the game, and they cannot afford to mess that up.

      • manimal

        On the other hand, what Marx referred to as the tyranny of the majority.

    • Lasse Momme

      I think generally speaking fans want the bands to evolve, very few metal bands seem to actually get away staying the same for a very long time. It probably stems from the fact that if you spend 15 years playing the same style, you’re going to run out of good material eventually, so a bit of variation is to expected and perhaps even preferred.

      It takes something pretty fucking special to be able to produce high quality material within the confines of the same style for that, so naturally most bands who do it end up sounding less than stellar 10 years in. In fact the only band I can think of who has stuck the same style they started out with basically and arguably still don’t really have any major blemishes on their record of, well, records is Bolt Thrower. They’ve quietly released quality music for well over 20 years now in the same style they started out with and the quality hasn’t faltered. problem is, they haven’t gotten any bigger either.

      they are very comfortably placed in Death Metal as being supremely good at what they do and they’ll probably stay that way but they’ll probably never be known for anything else either.

      • Bolt Thrower is nothing if consistent, but in their case that’s not a bad thing.

        I’d add Overkill to the list of consistent and damn good… Even “I Hear Black” was good, if not a F.U. to their contract fulfillment. :)

        • DrChocolate

          Considering Bolt Thrower hasn’t released anything in a decade I think it’s safe to replace them in any discussion like this with High on Fire – The Millennial’s Motörhead.

    • Olly P Johnson

      Depends how well the change is handled, are you Paradise Lost or Anathema.

      • RuySan

        This is still a tricky question, because I love the “One Second/Host” phase of PL, and hate the new Anathema (but also love the Judgment/A Fine Day phase).

        I know everyone else might feel differently

        • Wilhelm

          I feel 100% the same way

        • Olly P Johnson

          I do like One Second, but then they’ve gone back to the Old Doom style and lost a lot of what made them
          unique, the Depeche Mode era did at least get them writing a good hook or two which they carried through on the return to “doom”, but now….it’s kinda gone again.

          Anathema just come to mind because they have succeeded in crossing over genres whilst taking the fans with them.

      • Juan Manuel Pinto Guerra

        It is so subjective I don´t know which example you meant to use as good and which one for bad. A case can be argued for “good” and “bad” change in both Anathema and Paradise Lost cases.

        • RuySan

          Maybe he should have used Katatonia and In Flames instead?

          • Humberto Martins

            Balls are needed to release such a piece of crap like Siren Charms.

        • Olly P Johnson

          yes, I guess you are correct. I was really using PL as the “bad” and Anathema as the “good”, one band has changed styles and stuck with it, winning fans. The other tried, failed and had to win back fans.
          I love both bands, and for me PL’s recent output has been brilliant, but it’s hard to argue that the middle era was troubling.

    • Dr_Fisting

      It works to FF’s disadvantage that not only have THEY been making the same sound for 20+ years, but a lot of other bands ran it into the ground as well. How many C-list groups were using stuttering double kicks, autotuned clean choruses, etc. in the early-mid 2000’s? No wonder we’re sick of it.

      • Oh man! It’s the Slaughter of the Soul syndrome.

        • Dr_Fisting

          Yeah, except FF was singing about the Terminator and everyone else was singing about their girlfriends.

          • Dr? Gonzalo Salazar

            I think FF had (still have?) a crush on the Terminator.

      • Juan Manuel Pinto Guerra

        Autotuning f*cking sucks… Especially used an effect.

    • groverXIII

      It probably depends on how much you like the band in question, and how solid the songwriting is within their particular style. I mean, no one really wants to see Motörhead, Bolt Thrower, or Joutsen-era Amorphis really change things up.

      • I want to see Amorphis change it up. And I haven’t liked a Motörhead record for decades. Bolt Thrower I’m torn on.

        • groverXIII

          The last two Motörhead albums, at the very least, have been really, really good. Especially Aftershock.

          If Bolt Thrower ever records another album, it needs to sound like Bolt Thrower. No exceptions.

        • Jm from nj

          Amorphis probably will refuse to change it up, considering they did-so when they replaced their first vocalist and then hit a winning, rebirth-like formula. They were headed on the path towards extinction and found gold in Joutsen. Don’t see them changing anytime soon.

    • Dr. A.N. Grier


      That’s my answer to everything from now on.

      • Don’t worry, Angry Metal Guy’s Law of Diminishing Recordings™ will take them all in the end.

        • Doomdeathrosh

          I hope you’re not hoping!

    • beurbs

      Well what if you change your sound somewhat with every album but still play songs from every album live? Then everybody’s happy.

  • Wojtek

    It’s like Starbucks of music. Never engaging, always predictable, mostly disappointing. :)

    • sickbroski

      They should play this in Starbucks.

      • Wojtek

        They kinda do. By the means of ‘coffee’ ;)

        • Hulksteraus

          Nah, Deathklock has that one down pat… (and yes, they are a cartoon band…) :)

  • ronin1572

    While not the biggest FF fan, I still prefer Mechanize as an album over most of their resurgence period. I think Bell’s vocal were much better, and Gene Hoglan’s drumming gave the album and ever so slightly more organic feel.

  • Very well-written and accurate.
    This definitely sounds better than more recent stuff. Makes me want to play Carmageddon.

  • Juan Manuel Pinto Guerra

    Why should Fear Factory change? They created this style and I have yet to hear someone playing it better than they do or even getting close.
    It´s like asking AC/DC to drop the bluesy riffs, asking Iron Maiden to drop the twin guitars or asking Motorhead to have Lemmy concentrate on bass and get a nice soprano to do the singing.
    Samey? Yes, it is. But it is their own brand of samey, which should count for something.

    • Gabriel PérezMolphe

      I don’t know if AC/DC should continue making music. You can name a distinguishable sound or caracteristic in the music like Maiden, but its different when every song has the same structure, riffs, singing, etc, (AC/DC, Cannibal Corpse, Fear Factory).

      • Juan Manuel Pinto Guerra

        It´s been awhile since every new record AC/DC makes is just an excuse to go on tour. They should continue playing live, but I don´t think anyone would complain if they didn´t release any more new albums.

    • Because we’re bored?

      Also, samey is a banned word around here. Try this: http://www.thesaurus.com/browse/monotonous?s=t

      • Juan Manuel Pinto Guerra

        I didn´t know “samey” was banned. How about “riding their own coat tails”?
        I could also use what I like to call “my own favorite quote” and say that for Fear Factory “is not about reinventing the wheel, is about keeping it rolling”.

  • Whiskeyjack

    Dino Cazares slowly turning into my mother in law…

    • Whiskeyjack

      actually my mother in law is more impressive with an axe. (She makes a mean curry goat.)

  • dduuurrrr dddduuuurrrr

    I can’t believe you guys rated this the same as the new Cradle of Filth.

    Talk about 2 bands that I loved in my youth both releasing albums this year… except one is awesome and the other is Fear Factory.

    • That new CoF IS surprisingly good. Never was big on either of them, but judging by the embedded track CoF wins this showdown for me too.

    • Grymm

      I still can’t get over how good the new Cradle of Filth is.

  • Alexandre Barata

    Pretty great for the fans, pretty awful to anyone else. This is one of those bands that makes me think of a Nu-Metal band nowadays (Korn for example), musically, they don’t offer anything, not quality, nor groundbraking-ness, but fans will get pretty happy with it, and everyone else will put it aside as pile of crap.

  • JL

    I just listened to 9 of the 12 songs. It’s a good record but not great. Somewhere inbetween Mechanize and TI. I don’t hear a strong Demanufacture resemblance at all and Demanufacture is one of my all time favorite records. Burt sounds weak to me. His vocals are decent but the growling is really poor. Not a bad record. 3/5 is right. The second half of the record is vastly superior to the first.

    • Jm from nj

      Agree…have you seen Burt live in recent years? Oooooooooffffa. Can’t hit those notes. An already limited vocalist now limited further.

      • JL

        last time i saw them live was 2009 on the mechanize tour in london. they killed it live but yea burt was struggling. they ended the show with 5 straight rips from Demanufacture, so it was awesome though.

      • Grymm

        I saw a recent live FF video where Burton attempted “Self-Bias Resistor”, and I cried.

        So sad and painful.

  • JL

    The problem with Fear Factory post Obsolete really is the riffs. All the riffs are exactly the same, so nothing really sticks out on the guitar end, which places lots of pressure on and attention to Burton. The drumming is always good – I’ve always enjoyed it – but I want Dino to write classic riffs as found on the first three records.

  • Jm from nj

    Mechanize was good, and seems overlooked. Hoglan was the beast that made that album.

  • Brad Ermey

    I’ve been listening to FF since the early days, and I thought Soul of a New Machine was garbage. They found their sound in Demanufacture and stuck with it, which is fine for me. I enjoy the sound and it doesn’t get old to me. Fear Factory is a rare breed, they have their own unique sound, and when you have that, I don’t think you go and just change. Most bands get in trouble when they do change, e.g. In Flames, Linkin Park, Korn, and others. I would have to clarify when I say “get in trouble” because most of the backlash comes from the fans of their original sound. I have no problem with a band changing sounds, but more times then not I don’t like the changes, but some I don’t mind. Fear Factory and Disturbed are alike, in the sense they have had the same sound since the beginning. That’s what I liked before, that’s why I like them now, because they keep making that sound I like. It doesn’t get old for me. While FF keeps their sound the same, they always have that offbeat song in each album that keep them unique, this album is no different. I really enjoyed Experation Date and Enhanced Reality, both something different for FF. Lets not forget the Remanufactue album they put out that was a remix of their songs, which I loved.

    At the end of the day, these are just opinions, and yours is no more right than mine, and vice versa. We all like what we like, and never understood why we argue with each other on what music is good and what is not, because we all have different tastes.

  • Sebastian Bugge

    Am I the only one here that thinks this is a fucking solid album? Much better than Mechanize and anything else they have done since Demanufacture.

  • Here’s Johnny

    Another example of the attitude on this site that ruins the reviews, really predictable now. If someone thinks every FF song sounds the same like AC/DC then they are not listening properly. Anyway AC/DC ‘extremely limiting sound’, GTFO.

    FF sound like FF, AC/DC sound like AC/DC, Slayer sound like Slayer, Motorhead sound like Motorhead, Maiden sound like Maiden. All extremely limiting sounds of course, poor guys. What awful careers they have all had.

    The second half of this abum is really different from the first, one song is very Gary Numan-ish with no guitars and an electronic beat. How the hell is every song the same then? It just is not true. FF is one of those bands that i can just name cool songs all day because they know how to write a tune, to say every one is the same or sounds like one song ‘zero signal’ is just nonsense.

    • To argue these guys don’t have an extremely limited sound palette is just plain silly. And I went into great detail about how one song was different and more interesting with electronica influences.
      You just like to bitch whenever we give a major a band a 2.5, and apparently even when we don’t.
      And lately you seem to miss the sense of humor the writers use too.

      • Here’s Johnny

        ‘Extremely limited sound’, you mean they sound like themselves? Thats just plain silly, it is a sound that is their own. They created the whole death with melodic singing thing, that went on to define nu metal at the beginning. I don’t think having your own sound is extremely limiting at all, why would a band try to be anything other than themselves? That is usually when they fuck up entirely.

        Look at the first 3 albums, you trying to say they sound the same because they don’t at all. Transgression was different again. I think this album has a good variety, it is something they don’t get enough credit for. Yes the first half of the album is the FF you expect but they aren’t all about that. You always know when bands are good song writers and that they are distinct from each other when you can roll off tons of their songs if someone asks. The best bands have songs.

        I know it can be hard to write reviews that are interesting when these bands have been around for a long while, just the attitude is snotty at times. Stuff like FF/Nile/Soulfly will get shat on as its popular, while some obscure folk metal band will receive 5/5 no doubt haha.

        • Very few bands have hung around as long with such a one dimensional sound. If you are claiming Fear Factory has a lot of diversity, I’m afraid you’re bonkers.
          I was a huge fan when the first came out but after a few albums of the basically the same thing, I felt their sound got very tired. This album takes the same basic style and does a good job of making each song sound lively, thus the 3.0. However, they are still a very monotonous sounding band in my humble opinion.
          You complain if we underscore an album you consider a “big release,” then you complain about the attitude when we give a “big release” a good score. Basically, you just hate to see any review that doesn’t agree with your opinion 100%
          And if the “attitude of the reviews here annoys you so much, why bother reading them?

          • Here’s Johnny

            I never said they have lots of diversity but Souls of New Machine was death metal, Demanufacture ‘cyber-metal’ and Transgression/Digimortal had the more nu-metallish sound. Come on man, they aren’t fucking AC/DC. Even though AC/DC are best rock band ever anyway.

  • El Lado Oscuro

    Why no comments on the Blade Runner theme based lyrics the disc offers? It adds an interesting perspective to the work

    • 700 word limit, which I blew anyway because…America!

      • El Lado Oscuro

        I see… good review anyway, I woulda give it a 4 anyway, no less than a 3.5

  • Sebastian Bugge

    I must say Expiration Date is a really good song. Not something you have heard before from these guys and it really works as a closing track imo. Other good songs are Dielectric(dat riff), Autonomous Combat System and Regenerate. Only song that is really boring for me at least is the Church of Execution.

  • herrschobel

    maybe to some guys – like FF – innovation and “new ideas” are just not mandatory to enjoy making music…so they simply do what they are good at and look at the whole thing from a more energetic level…if you follow one school of kung fu you get better but you might never change the underlying system…and you probably shouldn´t … i haven´t listend to FF for over 15 years…and i liked them quite a lot when i was a young man – insert sob here – and i really enjoyed this album. will i come back to it many times ? i doubt it…but i think i will watch them play live next Tuesday in Berlin…good ol´ times….excellent website by the way ! serious Metal Debates !!! who would have thought :-)

    ps. i also wonder how this must sound to teenagers right now..